Recorder

  1. 1. The general and specific objectives of the subject

The main objective of main subject education is to systematically develop the instrumental technique and to comprehend the literature of the instrument. To learn some of the style periods of the recorder, the specific play modes of the era, in practice, and also to solve the problems that arise on the teaching track.

  1. Content of the course

2.1. Admission requirements

  • 1 Solo piece of the XX. century
  • Slow and fast movement from one Baroque concert
  • Early baroque or French baroque work
  • Different style piece from the previous

2.2.  Course contents:

Expanding and using creative knowledge in previous studies. In this, the development of the quality of sound training and intonation, the differentiated use of different articulation forms and the full implementation of specific dynamic modes play a key role. The other main task of the main training course is the complete overview of the recorder literature, the mastery and the differentiated implementation of the stylistic interpretation. Particular attention should be paid to the 20th-21st century repertoire of the instrument and to acquire new technical and musical elements there. During the course, the student must be provided with the conscious building of the performer and pedagogical repertoire, in which a wide range of opportunities must be provided to acquire the stage routine and to build a more complete methodical repository.

  1. Breaking to semesters the content of the subject, the method of control

At the end 1 to 7 semester of a colloquium according to the following requirements, at the end of semester 8 at the end of a final exam concert. Each semester, at least once every six months, must be held at a concerts or at other musical events individually.

  1. semester

    The repetition of the secondary school ethos is a play of Italian-style baroque works

Examination:
2 etude
The hall baroque sonata

  1. semester

Higher technical requirements for etude
The play of Italian-style great baroque works
Overview of Baroque Concert

Examination:
2 etude
Movements of a Baroque sonata
Complete concert

  1. semester

Higher technical requirements for etude
Baroque solos, fantasie
Getting acquainted with 20th century literature

Examination:
1 Larger Etude
Telemann fantasies 20th century solo

  1. semester

Higher technical requirements for etching
Overview of decorated ornate sonatas
Deepening 20th century literature

Examination:
1 complex etude
Telemann: Methodological Sonata is a 20th century piano accompaniment work

  1. semester

A full overview of 13 to 14th century instrumental music
Expanding the knowledge of the French Baroque repertoire
The tendencies of the first half of the 20th century that affect the flute

Examination:
medieval artwork or an estampida series of mixed-style (Italian-French) 18th century works
neo and postmodern work before 1960

  1. semester

A full overview of the works of the fifteenth to sixteenth century flute
Expand the knowledge of the Early Baroque repertoire
The tendencies of the second half of the 20th century, which also affected the flute

Examination:
Renaissance artwork, 17th century Italian or German artwork
avant-garde work, preferably underotoric

  1. szemeszter

Comprehensive knowledge and application of the 16-18th century diminutive publications
Expand the knowledge of 19th century (picks) literature
Getting to know the latest trends in the 21st century

  1. szemeszter:

Preparing for the Final Exam

Final Exam Requirements:
Presentation of a standalone 35-45-minute program, selected from four different styles, with the creative application of their own decoration and diminishing solutions. The program must be XX-XXI. century and a chamber work.

  1. List of compulsory or recommended literature

The works of the authors of the period and the collections of the records ,Etudes (Boeke, Linde, Staeps, Paubon, Winterfeld,)
Baroque solos(Telemann, Quantz, Braun, Boismortier)
XIII-XIV. c. F. Landini, G. Machaut, Ph.deVitry, G. Dufay, (Saltarellók, Istanpitták, Trottók ,Rották)
XV-XVI. c.: P Hoffhaimer, K. Paumann, A. Willaert, T. Stolzer, L. Senfl, T. Morley, V. Ruffo, F. Maschera, GlogauerLiederbuch
Early Baroque:D. Castello, G. B. Fontana, B. Marini, G. Frescobaldi, S. Rossi, B. Selma, T. Merula, C. Montalbano, G. P. Cima, H. I. Biber, L. Schmelzer
XVI-XVIII. c.: G. Bassano, F. Rognoni, D. Ortiz, dallaCasa, J. Eyck, G. L. Conforto, The DivisionFlute, J. Mattheson, J. J. Quantz
French Baroque: J.M.Hotteterre, F. Diupart, M. P. Monteclair, P.D. Philidor, N. Chedeville, J.B.Boismortier, M. Barre, L. Hervelois
Great baroque sonata (Bach, Bellinzani, Händel, Telemann, Barsinti, Castrucci, Mancini)
Baroque concerts(Vivaldi, Telemann, Sammartini, A. Scarlatti)
XIX. c. (Krämer, Heberle, Gebauer, Klingenbrunner,)
XX.c.: H. Poser, W. Begmann, H. U. Staeps, R. Canpagne
XX. c.: H. M. Linde, M. Zahnhauser, S. Borris, A. Dowald, G. Winters, R. Bois, M. Maute, Sinohara,