演奏探討

The Seminar in Performance Practice (or, Performing Practice) is an introductory course on all aspects of the way in which music is and has been performed, with special emphasis on the importance of a historical awareness as a pre-requisite for modern performers. In this comprehensive study, there is no limitation on the kinds of approach to solving interpretational problems, and the basis of the course is to help students reach for a more convincing rendition of the work he or she performs. The study will require a wide range of reading from historical treatises, critical writings, to present-day discussion on interpretation issues. Actual music will be used for performance studies, and where possible, discography will aid our perspective on the original instrument sound and the various interpretive styles. Students are encouraged, last but not least, to gain first hand experience if at all possible, on some period instruments for important references.

Prerequisite: Introduction to Music Research / 音樂研究導論

Grove Music on Line, Naxos Music Library, Periodicals, Books/Treatises, Scores, Original Manuscripts, CDs and DVDs, Period Instruments, YouTube and Internet.

Class participation and attention (absence must be made up by special assigned written work) : 50% Workshop presentations and projects: 20% (The above items are rated by the 2 teachers, 35% each) Final paper: oral presentation 10%, essay 20%

Important Reference Jackson, Roland John. Performance Practice: A Dictionary-Guide for Musicians. New York: Routledge, 2005. R ML100 J 29 2005 Books on Reserve (These books below only represent the starting point and earlier tools to be used for earlier music studies; further listing is too vast to be in the holding on reserve, students must search in terms of specific needs for later music) Bach, C. P. E. Essay on the True Art of Playing Keyboard Instruments. (2 volumes, 1753, 1762) London: Eulenburg, 1985. MT224 B 132 1949 Badura-Skoda, Eva and Paul. Interpreting Mozart. New York: Routledge, 2008. ML410. M69 B1413 2008 Banowetz, Joseph. The Guide to Pedaling. Bloomington: Indiana University Press, 1985. MT227 B 2 1985 Brown, Clive. Classical and Romantic Performing Practice 1750-1900. Oxford: Oxford University Press, 2000. ML457 B 76 1999 Brown, H.M. and Sadie, S. eds. Performance Practice: Music after 1600. London: Macmillan Press, 1989 ML457.P46 1990 Burton, Anthony ed. A Performer's Guide to Music of the Baroque Period. London: Associated Board of the Royal Schools of Music, 2002. ML193 .P47 2002 Burton, Anthony ed. A Performer's Guide to Music of the Classic Period. London: Associated Board of the Royal Schools of Music, 2002. ML193 .P477 2002 Burton, Anthony ed. A Performer's Guide to Music of the Romantic Period. London: Associated Board of the Royal Schools of Music, 2002. ML193 .P4762 2002. London: Macmillan Press, 1989 ML457.P46 1990 Bylsma, Anner. Bach: the Fencing Master: Reading Aloud from the First Three Cello Suites. Amsterdam : Bylsma Fencing Mail, 2001. MT145.B14 B9 2001 Cyr, Mary. Performing Baroque Music. Aldershot: Scholar Press, 1992. ML457 C 97 1992 Donington, Robert. The Interpretation of Early Music. New York: Norton, 1989. ML457 D 64 1989 Donington, Robert. Baroque Music, Style and Performance: a Handbook. New York: Norton, 1982. ML457 D 63 1982 LCC Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher as Seen by His Pupils. Cambridge: Cambridge University Press, 1986. ML410.C54 C 4913 1988 Harnoncourt, Nikolaus. Baroque Music Today: Music as Speech. Portland, Oregon: Amadeus Press, 1988. ML457 H 313 1995 Houle, George. Meter in Music, 1600-1800: Performance, Perception, and Notation. Bloomington: Indiana University Press, 1987. MT75 H 7 1987 Hudson, Richard. Stolen Time: The History of Tempo Rubato. Oxford: Clarendon Press, c1994. ML437 H 83 1994 Lawson, Colin, and Stowell, Robin. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press, 1999. ML457 L 39 1999 Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. (1756) Oxford: Oxford University Press, 1985. MT262 M 93 1985 c.1 Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. Cambridge: Cambridge University Press/c1992. ML457 P 5 1992 Quantz, Johann Joachim. On Playing the Flute. (1752) London: Faber and Faber, 1966. MT342 Q 313 2001 Rosenblum, Sandra P. Performance Practices in Classic Piano Music. Bloomington: Indiana University Press, 1988. ML705 R 67 1988 c.1 Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries. Cambridge: Cambridge University Press, 1990. ML855 S8 1990 Veilhan, Jean-Claude. The Rules of Musical Interpretation in the Baroque Era :(17th-18th centuries), Common to All Instruments. Paris : Alphonse Leduc, c1979. ML457 V 4413 1979 Walden, Valerie. Hundred Years of Violincello: a History of Technique and Performance Practice, 1740-1840. Cambridge: Cambridge University Press, 1988. ML915 W25 1988 Weisberg, Arthur. Performing Twentieth-Century Music : a Handbook for Conductors and Instrumentalists. New Haven : Yale University Press, c1993. MT75 W 38 1993

地點

教師研究室

時間

星期三下午3:30-4:30或另行與教師約定

聯絡方式

573-1957