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Программа курса: что вы изучите

Неделя
1
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1 ч. на завершение

Welcome to Class!

We’re happy that you’ve joined us! The items you see here will enable you to get the most out of this course. Please note that many of the items have been updated to reflect the addition of Jonathan’s newest lectures....
Reading
4 материалов для самостоятельного изучения
Reading4 материала для самостоятельного изучения
Notes from the Instructor10мин
Syllabus10мин
Join the Curtis Online Forum10мин
Getting to Know You10мин
Неделя
2
Часов на завершение
2 ч. на завершение

How Things Were

To examine the relationship Beethoven had with the piano sonata, we begin by looking at its origins. In this lecture, we will discuss the role of music generally, and of the sonata specifically, in the time of Haydn and Mozart. This lecture will also provide an introduction to the form of the sonata—to the psychological effect sonata structure has on the listener. This background will be necessary to appreciate the innovations Beethoven introduces....
Reading
6 видео (всего 59 мин.), 3 материалов для самостоятельного изучения, 1 тест
Video6 видео
Music in the Time of Haydn and Mozart12мин
Enter Beethoven8мин
Sonata Form in Theory7мин
Sonata Form in Practice14мин
…and the Form of the Sonata8мин
Reading3 материала для самостоятельного изучения
Lesson Notes and Resources (How Things Were)10мин
Lecture Corrections10мин
Mr. Biss Asks...10мин
Quiz1 практическое упражнение
How Things Were20мин
Неделя
3
Часов на завершение
2 ч. на завершение

The First Thirteen

Beethoven’s work has traditionally been divided into three or four periods. This is problematic, for various reasons, but the first 13 of the 32 sonatas do, in a sense, form a unit. This lecture will focus on Sonata No. 4, Op. 7, which is the largest and altogether one of the most impressive of the early works. Topics will include Beethoven’s use of the piano and the use of the sonata as a “vehicle” for the pianist, the ways in which this and other early sonatas conform to the model established by Haydn and Mozart and the ways in which they do not, and the foreshadowing of the fixations of the later years, while holding, at least on the surface, to the conventions of the time. Topics will include Beethoven’s use of the piano, and the use of the sonata as a “vehicle” for the pianist, the ways in which this and other early sonatas conform to the model established by Haydn and Mozart and the ways in which they do not, and the foreshadowing of the fixations of the later years, while holding, at least on the surface, to the conventions of the time....
Reading
4 видео (всего 44 мин.), 3 материалов для самостоятельного изучения, 1 тест
Video4 видео
Expanding the Scope of the Sonata: Op. 7, 1st Movement15мин
Early Experiments in Metaphysics: Op. 7, 2nd Movement7мин
Respecting and Disrespecting Tradition: Op. 7, 3rd and 4th Movements11мин
Reading3 материала для самостоятельного изучения
Lesson Notes and Resources (The First Thirteen)10мин
Mr. Biss Asks...10мин
Sonata from "The First Thirteen"10мин
Quiz1 практическое упражнение
The First Thirteen20мин
Неделя
4
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2 ч. на завершение

New Paths

Beethoven’s conception of the sonata was perpetually in flux, but the year 1801 is a particularly experimental one. The four sonatas Op. 26 through 28 (Nos. 14 through 17, chronologically) feature the most concrete innovations among the sonatas written up to that point, and are the focus of this lecture. There will be discussion of the relationship between the movements in a classical sonata, and the radical shift it begins to undergo at this point. We will also examine the ways in which these sonatas were influential to future generations of composers, which the earlier works, great as they are, were not. As a special feature for this lecture, a recording by a current Curtis student of the first movement of Op. 28 will be available on Curtis Performs....
Reading
5 видео (всего 59 мин.), 4 материалов для самостоятельного изучения, 1 тест
Video5 видео
Re-shaping the Sonata: Op. 2619мин
Blurring the Lines Between Fantasy and Sonata: Op. 27, No. 16мин
Psychological Extremity in Music: Op. 27, No.215мин
Subtlety and Innovation: Op. 289мин
Reading4 материала для самостоятельного изучения
Lesson Notes and Resources (New Paths)10мин
Lecture Correction10мин
Mr. Biss Asks...10мин
Sonatas from "New Paths"10мин
Quiz1 практическое упражнение
New Paths20мин

Преподаватель

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Jonathan Biss

Neubauer Family Chair in Piano Studies
Performance Faculty

О Curtis Institute of Music

The Curtis Institute of Music educates and trains exceptionally gifted young musicians for careers as performing artists on the highest professional level. Innovative programs encourage students to invent 21st-century musical careers through unique "learn by doing" opportunities and over 150 performances per year in Philadelphia and around the globe. One of the world’s leading conservatories, Curtis provides its 165 students with personalized attention from a celebrated faculty and has produced an impressive number of notable artists since its founding in 1924. ...

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