Solokadenzen (gLV) 
Angebot für
Bisheriges Studienmodell 
Musik Bachelor Musik Komposition und Musiktheorie Zeitgenössische Komposition
(...) Musik Bachelor Musik Komposition und Musiktheorie Zeitgenössische KompositionBisheriges Studienmodell Musik Bachelor Musik Komposition und Musiktheorie Zeitgenössische Komposition
(weniger) Musik Bachelor Musik Komposition und Musiktheorie Zeitgenössische Komposition| Nummer und Typ | DMU-WKFK-8003.20H.002 / Moduldurchführung |
|---|---|
| Modul | Freikurs 90' (historisiert) |
| Veranstalter | Departement Musik |
| Leitung | Dominik Sackmann |
| Minuten pro Woche | 90 |
| Zeit | |
| Anzahl Teilnehmende | maximal 15 |
| ECTS | 1.5 Credits |
| Voraussetzungen |
|
| Lehrform | Lecture, Seminar, Workshop |
| Zielgruppen | Students in the Profil KLassik |
| Lernziele / Kompetenzen | Improvisation of Solo Cadenzas |
| Inhalte | Introduction to the Solo Cadenza and its history from zhe 17th to the 20th century, Reading musical and textual sources from the 19th century, Improvisation of Preludes, Composition of Dolo Cadenzas, Improvisatipon of Solo Cadenzas There still exist many misconceptions about the solo cadenza in arias, sonatas and concertos of the 18th century. In addition to Daniel Gottlob Türk’s instructions there are interesting contemporary opinions and conceptions about the improvisation and/or preparation of a solo cadenza. There is a bulk of original vocal as well as instrumental cadenzas from the second half of the 18th century providing beneficial inspiration for today’s uses. The main goal of this course is a practical one: learning to design and to improvise one’s own cadenzas to any given movements of concertos, sonatas and arias. This includes some supplementary approaches to improvisation based on contemporary and/or later instructions for improvising. Perhaps it is also helpful to trace the history of the cadenza into the 19th and 20th centuries, that is to say after the age of cadenza improvisation, in order to get a fuller view of the aesthetics of the phenomenon in general. |
| Bibliographie / Literatur | Philip Whitmore: Unpremeditated Art, The Cadenza in the Classical Keyboard Concerto, Oxford: Clarendon, 1991 Dominik Sackmann: «Versuch einer Anweisung, Solokadenzen zu improvisieren», in: Vier Vorträge zur Wienerklassik, Wilhelmshaven: Noetzel, 1999, S. 21–80. |
| Leistungsnachweis / Testatanforderung | Continuous presence, Collaboration |
| Termine | Mittwoch, 10 –11.30 Uhr 23.09./ 30.9./ 07.10./ 14.10. / 25.11. / 02.12. / 09.12. /16.12.2020 |
| Bewertungsform | bestanden / nicht bestanden |
| Bemerkung | 8003 |
