Curricular Unit: Orchestra Instrument V
Code: LPI037
ECTS: 9
Cientific area: Performance Practices
Learning outcomes
A student who has completed the unit is expected to:
– have acquired a playing technique and expressive means on his/her main instrument to a professional standard
– be able to rehearse repertoire on his/her main instrument independently
– have a basic knowledge of the various styles of art music
– be widely familiar with the core repertoire for his/her main instrument
– be familiar with the historical predecessors of his/her main instrument
– have the capability for playing with various ensembles and orchestras (orchestral instruments)
– be able to prepare for and deal with various performance situations
– be capable of independent, methodical and long-term practicing and work
– understand the particular requirements of a musician’s profession and of his/her own instrument and be able to pace his/her practicing and work with a view to these requirements
– recognize his/her strengths and have acquired the capability for lifelong learning
Syllabus
Musical works of pedagogical/educational characteristics to motivate the technical improvement of the students. Approach to the main repertoire of musical works to promote the musical and artistic development of the students.
Teaching methodologies
Contextualized presentation of practical subjects, about the mentioned bibliography. Practical, in individual lessons upon the syllabus.
Bibliography
Alcântara, Pedro de (2011). Integrated Practice: Coordination, Rhythm and Sound. New York: Oxford University Press.
Applebaum, Samuel and Sada (1972). The Way They Play, Illustrated Discussions with Famous Artists and Teachers, Book I. New Jersey: Paganiniana Publications
Bresler, Liora, and Stake, Robert E. (2006). “Qualitative Research Methodology in Music Education.” In MENC Handbook of Research Methodologies, edited by Richard Colwell, 270-311. New York: Oxford University Press
Conable, Barbara and Conable, Benjamine (2000). What every musician needs to know about the body. Portland: Andover Press.
Duke, Robert A., Amy L. Simmons, and Carla Davis Cash (2009). “It’s Not How Much; It’s How: Characteristics of Practice Behavior and Retention of Performance Skills.” Journal of Research in Music Education 56, no. 4: 310–321
Fadle, Heinz (1996). Looking for the natural way. Detmold, Germany: Edition Piccolo
Green, Barry (2005). The Mastery of Music: Ten Pathways to true artistry. New York, USA: Broadway Books
Griffiths, Paul (1995). Modern Music and After; directions since 1945. Oxford University Press, Oxford
Guy, Larry (2005). The Daniel Bonade Workbook: Bonade’s Fundamental Playing Concepts, with Illustrations, Exercises, and an Introduction to the Orchestral Repertoire. 2nd ed. Stony Point, NY: Rivernote Press
Jäncke, L., N. J. Shah, and M. Peters. “Cortical Activations in Primary and Secondary Motor Areas for Complex Bimanual Movements in Professional Pianists.” Cognitive Brain Research 10 (2000): 177-183.
Jordan, James et al. (2011). The Musician’s Breath: The Role of Breathing in Human Expression. Chicago, United States: GIA Publications, Inc.
Kaplan, B. (2004). Practicing for Artistic Success: The Musician’s Guide to Self-Empowerment. Perception Development Techniques.
Klickstein, Gerald (2009). The musician’s way: a guide to practice, performance and wellness.New York: Oxford University Press
Kohut, Daniel L. (1973). Instrumental music pedagogy. New Jersey: Prentice-Hall Inc.
Kohut, Daniel L. (1992). Musical performance: learning theory and pedagogy. Illinois: Stipes Publishing.
Laudermilch, Kenneth (2000). An understandable approach to musical expression. Galesville, M. D., USA: Meredith Music Publications.
Lehmann, Andreas; Sloboda, John A. et al. (2007). Psychology for musicians: understanding and acquiring the skills. New York: Oxford University Press.
Lieberman, Julie Lyonn (2004). You are your instrument: a definitive musician’s guide to practice and performance. New York: Huiksi Music.
McGill, David (2009) Sound in Motion: A Performer’s Guide to Greater Musical Expression. Bloomington, IN, United States: Indiana University Press.
Meyer, Leonard B. (1956). Emotion and Meaning in Music. The University of Chicago Press, Chicago
Nyman, Michael (1999). Experimental Music, Cage and Beyond. Second Edition, Cambridge University Press
Orning, Tanja (2013). Sound & Score: “Pression Revised: Anatomy of Sound, Notated Energy, and Performance Practice”. Orpheus Institute, Leuven University Press, pp. 94- 109.
Parncutt, Richard; McPherson, Gary E. (Ed.) (2002). The Science and Psychology of Music Performance: Creative strategies for teaching and learning. New York: Oxford University Press.
Read, Gardner (1993). Compendium of Modern Instrumental Techniques. Greenwood Press
Ricquier, Michel (1982). Traité méthodique de pédagogie instrumental. Paris: Gérard Billaudot Éditeur.
Rink, John (Ed.) (2005). The Practice of Performance: studies in musical interpretation. Cambridge: Cambridge University Press.
Shrock, Dennis (2013). Performances Practices in The Baroque Era. Chicago: GIA Publications, Inc.
Shrock, Dennis (2011). Performance Practices in the Classical Era. Chicago: GIA Publications, Inc.
Williamon, Aaron (2004). Musical Excellence: strategies and techniques to enhance performance. New York: Oxford University Press
Zorn, John (2000). Arcana: Musicians on Music. New York, Granary Books/Hips Road
Teaching Staff
Nuno Miguel Antunes da Silva (regent)
Ana Cristina Fernandes Pereira
Agnés Katalin Sárosi
José Fernandes Pereira
Liviu Scripcaru
Paul Wakabayashi
Marco Fernandes Pereira
Ercole de Conca
Vladimir Kouznetsov
Nelson Alves
Nuno António Simões Inácio
Sílvia Janete Santos
Roberto Erculiani
Vera Dias
Sérgio Charrinho
Rui Mirra
Carlos Reinaldo Guerreiro
Fernando Llopis Mata
Charles Richard Buckley
Pedro Miguel Araújo e Silva
Luís Duarte
Daniel Canas
Sérgio Carolino