EDUCATION OF MUSICIANS IN KLATOVY IN THE 18TH CENTURY BASED ON CONTEMPORARY SOURCES

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

EDUCATION OF MUSICIANS IN KLATOVY IN THE 18TH CENTURY BASED ON CONTEMPORARY SOURCES

Popis výsledku v původním jazyce

The training of musicians in the Czech lands of the 18th century and its methodological procedures represent a theme not yet understood comprehensively. The main music teaching institutions were parish schools in rural and urban churches and seminaries in monasteries important, especially Jesuits and Piarists. Robert O. Gjerdingen provided an important methodological impulse for research in music education in the XVIII century. At that time, music education placed particular emphasis on ability to orient oneself quickly and reliably in musical notation (reading from a sheet), the ability to improvise and general bass playing. THE objective was to quickly master the reading of scores and the interpretation of new compositions. These skills had to be mastered by the students of music foundations in the Czech lands, in the same way as graduates of the best Neapolitan music schools (conservatories). There were two important musical and educational institutions in the royal city of Klatovy - the first a parochial school with four cantors in the church of rector of the Nativity of the Virgin Mary and the second in a seminary of St. Josef, where he worked with ten graduates. Seminarians were known for his virtuosic musical productions in the church and in manors in the areas surrounding. The student of the seminar was, for example, the composer F. X. W. Habermann. In the parochial school, under the direction of the rector, emphasis was placed on especially in singing training, singers could interpret extensive coloraturas taken from operas of that period or newly composed for liturgical purposes. At that time, professional music training was quite demanding. Boys from the age of eight learned in combination with the technique singing (solfeggia), intonation by solmization and tone scales. Thanks to that, they could sing choral and figural compositions. were soon added classes in playing musical instruments - mainly on musical instruments keyboard and string instruments (violin). In the first period were played sonatas, then instrumental concertos. Later, they started to teach general bass, vocals and songwriting basics by creating cadences and variations. In the Klatovy environment, the teaching of general bass took place according to a undated copy of the manual Fundamenta Partiturae Compendio in data de Mathias Gugl (1719). The author of the transcript, Joseph Böhm (who probably worked in a seminary or parochial school, rewrote only the chapters in intervals and cadences. The final part of the compendium of Resolutionum (Gugl&apos;s work) contains two extensive exercises (parts) and several four short - bar harmonizing schemes in bass scales standardized.

Název v anglickém jazyce

EDUCATION OF MUSICIANS IN KLATOVY IN THE 18TH CENTURY BASED ON CONTEMPORARY SOURCES

Popis výsledku anglicky

The training of musicians in the Czech lands of the 18th century and its methodological procedures represent a theme not yet understood comprehensively. The main music teaching institutions were parish schools in rural and urban churches and seminaries in monasteries important, especially Jesuits and Piarists. Robert O. Gjerdingen provided an important methodological impulse for research in music education in the XVIII century. At that time, music education placed particular emphasis on ability to orient oneself quickly and reliably in musical notation (reading from a sheet), the ability to improvise and general bass playing. THE objective was to quickly master the reading of scores and the interpretation of new compositions. These skills had to be mastered by the students of music foundations in the Czech lands, in the same way as graduates of the best Neapolitan music schools (conservatories). There were two important musical and educational institutions in the royal city of Klatovy - the first a parochial school with four cantors in the church of rector of the Nativity of the Virgin Mary and the second in a seminary of St. Josef, where he worked with ten graduates. Seminarians were known for his virtuosic musical productions in the church and in manors in the areas surrounding. The student of the seminar was, for example, the composer F. X. W. Habermann. In the parochial school, under the direction of the rector, emphasis was placed on especially in singing training, singers could interpret extensive coloraturas taken from operas of that period or newly composed for liturgical purposes. At that time, professional music training was quite demanding. Boys from the age of eight learned in combination with the technique singing (solfeggia), intonation by solmization and tone scales. Thanks to that, they could sing choral and figural compositions. were soon added classes in playing musical instruments - mainly on musical instruments keyboard and string instruments (violin). In the first period were played sonatas, then instrumental concertos. Later, they started to teach general bass, vocals and songwriting basics by creating cadences and variations. In the Klatovy environment, the teaching of general bass took place according to a undated copy of the manual Fundamenta Partiturae Compendio in data de Mathias Gugl (1719). The author of the transcript, Joseph Böhm (who probably worked in a seminary or parochial school, rewrote only the chapters in intervals and cadences. The final part of the compendium of Resolutionum (Gugl&apos;s work) contains two extensive exercises (parts) and several four short - bar harmonizing schemes in bass scales standardized.

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

50301 - Education, general; including training, pedagogy, didactics [and education systems]

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů