a) To know how to create an appropriate performance of a musical work in aesthetic, rhetorical, expressive, stylistic and technical terms.
b) To acquire analytical skills, to develop a musical sensitivity and a capacity to engage autonomously with the musical world of the piece.
c) To know how to combine the individual performance within the chamber ensemble, grasping the specificity of the work, its inner balance and the dynamics of reciprocal interaction.
d) To master visual and gestural communication with the other members of the ensemble.
e) awareness of the musical and expressive dynamics of language in vocal music, understanding how decisions about word modulating, pronunciation, articulation, energy and tempo affect interpretation.
Maria Manuela Toscano de Barbosa Vaz de Oliveira
Weekly - 4
Total - 168
Admission requires musical skills and a real vocal or instrumental mastery equivalent to a 5th level of a music conservatory. Selection takes place at the end of January, on a date to be announced. Students should bring a prepared piece of their choice to this audition.
BERNAC, Pierre, The Interpretation of French Song, London,Norton & Company, 1976.
DONINGTON, Robert, The Interpretation of Early Music, London, Faber Ed., 1990.
FASSINA, Jean, Lettre à un jeune pianiste, Paris, Fayard, 2000.
HERR, Sophie, Geste de la voix et théâtre du corps, Paris, L'Harmattan, 2009
O'DEA, Jane, Virtue or Virtuosity?Exploration in the Ethics of Musical Performance, London, Greenwood Press, 2000.
TRANCHEFORT, François-René, Guide de la musique de chambre, Paris, Fayard, 1989.
a) Gestural expression and movement in space directed towards the musical ideal, the rhythmical energy and plasticity of musical phrases that present persistent performing difficulties.
b) Technical problems: training in slow motion always aimed at musical and expressive goals;
c) Linking interpretative questions to comparable situations in other musical works.
In class teaching
a) Performing previously prepared vocal and/or instrumental pieces. Repertoire from 16th to 21st century.
b) Discussing the aesthetics, style, atmosphere, character of the pieces performed.
c) Embodiment of performing gesture as source of musical meaning. Focusing on different kinds of silence, breath and propulsion in musical phrasing, sonority, plasticity, attack and energy.
d)Coaching rhetorical and temporal organization of the performance, enhancing both the beginning and end of the piece, phrase transitions, building of climax, pausing and silences.
e) Working the semantic, phonetic, musical and expressive potential of languages involved in vocal music, as well as its possible interplay with the instrumental tissue.
Programs where the course is taught: