Early Music Per­form­ance Prac­tice Class

• Semester: 2 semesters, fall and spring
  
• Final Assessment: Assessment from the course instructor
• Language: English

Course Description

The Early Music Performance Practice Class is a class about new (though historical) tools for interpreting classical and romantic repertory. Through an investigation of practices from the past as well as through an evaluation of current practices we will identify the interpretational needs for various style periods and individual composers. Students will be challenged to re-evaluate their believes, made aware of musical and aesthetical principles and goals, and to demonstrate in live playing which effect these new tools have on their interpretation and performance. All of this is applicable to interpretation on modern as well as early instruments.

The Early Music Performance Practice Class is open to keyboardists, string players, wind players, and singers on Bachelor and Master level.

Course coordinator: Piano, Accompaniment, Guitar and Accordion Department

Overview

The course will provide an historical introduction to:

• Primary sources on keyboard, strings, wind instruments, as well as voice
• Performance practice subjects in your own main subject instrument/voice as well as others'

In-course performing:

• (excerpts of) important repertory based on historical premises
• Attention for repertory of lesser-known composers
• Critical discussion of existing interpretations

Students are expected to be able to present well-considered arguments; discuss historical information as well as performances on historical as well as modern instruments; present their thoughts in clearly structured and well-documented papers; engage in discussion with their colleagues.

Learning Objectives

On completion of this course, the student is expected to:

• have a deepened knowledge of certain performance practices, chosen in the group
• have become acquainted with some of the most important historical sources
• be able to evaluate interpretational choices based on information relevant to period, genre, style
• be able to contextualize the well-known repertory by studying sources, evaluating various performance practices, getting to know contemporary minor masters, lesser-known genres, contemporary music life and aesthetics.
• assess performances based on style, periode, instrument development and relation of the various instruments to composers

Structure

12 Meetings of 1,5 hours in two semesters

First semester

• Session 1-2-3: short lectures on performance practice subjects.
• Session 4-5-6: student presentations on the choosen specific topics. Discussion is an important part of the proceedings. Findings will be related to performance by performing in class on their instrument.
  

Second semester

• Session 1-2: evaluation of performances on historical as well as modern instruments. Findings wil be related to the history and development as well as the performance practices of the instruments in the performances. Discussion is an important part of the proceedings.
• Session 3-4: develop a program for chamber music ensemble, duo, or solo. Go deep into a style by choosing repertory from a limited time period and avoiding well-known composers.
• Session 5-6: Present all your newly acquired knowledge and ideas in the form of program notes for your program. Presentations of the students’ programs. Discussion.

Course Requirements

First semester: Primary Literature and Performance Practice.

1. Read selected sections of assigned classical and early romantic sources (choice varies with the main subject of the student) and secondary literature. Choose one performance practice subject which is important to your instrument and cross-study in the literature. Oral presentation: 15 minutes.
2. Write a paper on the cross study: 2000-3000 words.
3. Perform, illustrate, and defend interpretational choices in performance. Scope: 15 minutes.

Second semester: Repertory and Programming

1. Listen to a set number of performances of one and the same piece on early as well a modern instruments. Evaluate, using concepts from the first semester. Oral presentation: 15 minutes.
2. Create a concept solo- or chamber music program particular to your instrument within a certain period of time within a town or well-defined geographical area, and using a given chamber music ensemble. Avoid well-known composers.
3. Perform (passages of) pieces in the class in order to demonstrate elements of style and interpretation in this repertory.
4. Make an interesting, realistic, and programmatically unified concert program, consisting largely of lesser-known composers. Write in-depth program notes, focusing on their works and style and their musical similarities and influences. 2000-3000 words.

Final assessment

All course requirements must be met before the student can be given a final assessment.
The assessment is based on the learning objectives for the course. The course is assessed on a pass or fail basis by the course tutor in the form of an individual evaluation of the student’s level of attainment.

New assessment

New assessment is subject to the same procedure as an ordinary assessment.