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By Word of Mouth: Historical Performance Comes of AgeSince Clive Brown’s 1991 accusation that many twentieth-century manifestations of historical performance lacked an appropriate degree of musical sensitivity, the historical performance movement has truly come of age. In the arena of Western Art music, historical performance is now an essential component of musical training and education. Successful performers must be able to seamlessly function across the widest possible range of musical styles, accommodating an equally wide gamut of tastes, both individually and collectively. In 1982, nine years earlier, Walter Ong’s Orality and Literacy: The Technologizing of the Word explored differences between oral and literate cultures. Of particular interest to me, a musician working across both practice and theory primarily in the arena of historical performance, is Ong’s identification and definition of some characteristics of orally-based thought and expression. In the 21st century, particularly at an institution such as London’s Royal College of Music, fluency across both practice and theory is the norm. Applying Ong’s work to the teaching and learning, rehearsing and performing of Western Art music, and through this, reflecting on the nature of orality and literacy, can give us a far greater understanding of the dynamics of practice and theory. In considering Ong alongside the work of performer/scholars, musicologists, and other writers, this paper suggests that the current success of the historical performance movement lies in its ability to embrace both oral and literate modes.
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Concerning Articulation on Keyboard Instruments: Aspects from the Renaissance to the PresentRILM abstract: "The organ, harpsichord, clavichord, and piano have different articulative characteristics due to their actions. An apparent norm of nonlegato playing for secular music existed prior to 1600, with probable playing of notes in ligatures. Signs specific to Articulation began to appear in the 17th c. The articulatory quality of short slurs is discussed, and the persistence of nonlegato into the early 19th c. is illuminated. Changes in the piano and in styles of Articulation went hand in hand in the 19th c. In the 20th c., new signs were added by composers seeking greater specificity of articulative color."
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Poslechové aktivity v praxiThe content of this Diploma Thesis is dedicated to the listening activities in Music lessons at primary schools. The Diploma Thesis summarizes the history of listening activities in Music lessons. It deals with the position of Musical education in Framework Educational Programme. The Diploma Thesis comprises the overview of all the most frequently used music textbooks for primary schools. The textbooks are sorted according to the publisher. The Diploma Thesis examines whether the music textbooks for primary schools include listening activities, which music pieces appear in the music textbooks, how the textbooks dispose with the music pieces and whether the textbooks provide enough amount of topics for a creative work with listening to music. The following part of the Diploma Thesis describes the general structure of a music lesson focused on listening to music. It deals with an integrative approach to teaching Music and curricular relationships. The Diploma Thesis offers a well-arranged division of listening activities to several groups according to various criteria. The aim of the division is to ease preparations for music lessons focused on listening activities and to ease the choice of a music piece. The research exposes preparations for twelve lessons focused on listening activities and a...