Prática Instrumental ou Vocal I
Code
73202109
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
10
Weekly hours
2
Teaching language
Portuguese
Objectives
- to be able to understand the importance of analytical insight and therefore the perceptual consistency of performance;
- to understand the relation between notation and the field of performances in which a piece exists;
- to become aware that analysis and performance are to be seen as interlocking modes of musical knowledge, and that they should be pursued simultaneously and interactively;
- to understand the relationship between notation and the verbal traditions for performance;
- to be able to operate within the knowledge of social, historical and biographic facts;
- to be able to understand and to musically operate the many references to real or imaginary figures within the composer personal mythology;
- to be able to develop technical competences in the context of scientific knowledge.
Prerequisites
N.A.
Subject matter
The piano in Robert Schumann
1. The composer and his work: aspects of analysis and interpretation of the repertoire
- Comparative perspective on the piano in several musical genre: soloist piano, chamber music, lied, works for piano and orchestra
- The approach to structural diversity: character pieces, program music, absolute music
- The fusion of literary and musical ideas: Eusebius and Florestan; Johannes Kresiler and E.T. Hofman; Schumann the critic
2. Problems of interpretation in Robert Schumann: musical representation of emotional states, the variety of textures, melodic lyricism
Bibliography
B.R. Appel: Robert Schumanns “Album für die Jugend (Zurich and Mainz, 1998)
H.J. Bracht: “Schumanns “Papillons” und die Ästhetik der Frühromantik”, AMw, I (1993), 71-84
D.Crisp: “The Kreisleriana of Robert Schumann and E.T.A Hofmann: Some Musical and Literary Parallels”, Musicology Australia, xvi (1993), 3-18
J. Daverio: Nineteenth-Century Music and the German Romantic Ideology (New York, 1993)
S. Downes: “Kierkegaard, a Kiss, and Schumann’s Fantasie”, 19CM, xxii (1998-9), 268-80
B. Hoeckner: “Schumann and Romantic Distance”, JAMS, I (1997), 55-132
E.F. Jensen: “ExplicatingJean-Paul: Schumann’s Program for Papillons, op. 2”, 19CM, xxii, (1998-9), 127-243
L. Kramer: “Carnaval, Cross-Dressing, and the Woman in the Mirror”, Musicology and Difference: gender ans Sexuality in Music Scholarship, ed. R.A Solie (Berkeley and Los Angeles, 1993), 305-25
N. Marston: “”Im Legendenton”: Schumann’s “Unsung Voice””, 19CM, xvi (1992-3), 227-41
Teaching method
The starting point is the research and deepning of the scientific Knowledge about the “persona artística” of Robert Schumann. Each student chooses (in accordance with the teacher) a set of piano pieces related to selected items of the syllabus. These pieces are discussed according to characteristics issued from musical analysis.
Selected pieces are individually prepared; weekly advising is made available for each student. Presentations and collective discussions are centered in the conceptual and theoretical issues in appreciation.
Evaluation method
Grading results from student performance all over the semester.