Agenda & Structure of the Course

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AGENDA 

COMPOSITION COURSE

This specialty includes:

  1. COMPOSITION COURSE. Professor: José Manuel LOPEZ LOPEZ.
  2. SESSIONS OF PRACTICAL WORK & TESTS. Professors: Miquel BERNAT, percussion | ESTELLÉS flat bass clarinet &, José Luis clarinet in if | Alberto ROSADO, piano.

We summon, for the first time, a Course of Composition directed to students of composition, as well as to young composers in period of formation (postgraduate), that will be distributed by José Manuel López López, composer and professor of composition in the Conservatory of Paris (CRR), in the Conservatory of Gennevilliers and the University of Paris 8, where it directs the Atelier de Composition.

The classes will be developed between the 8 and the 15 of 2019 July, both inclusively (8 days school).

The candidates will have to send to Active Music ([email protected]), along with the inscription form, a work of their responsibility, so that the professor can select to the students who will integrate the course.

The maximum number of admitted active students will be of 8.

Once selected the 8 students, they will initiate the composition of a work of camera of duration nonsuperior to 8 minutes, for the following formation:

Piano (Interpreter: Alberto Rosado)

Clarinet in Sib and/or Bass clarinet (Interpreter: José Luis Estellés)

Percussion (Interpreter: Miquel Bernat).

The Percussion includes the following instruments: a marimba 5 eighth, a vibraphone, one lira, a big drum, two toms (or congas), some bongo drums, a plate. The option exists to add to this set other small percussions to election of the composers, as long as they ask for it previously to see if it is possible to have them.

Each student will be able to choose to compose his work for one, two or three of the proposed instruments.

Between April and June, the selected students will send to the direction email of the course ([email protected]), in format pdf, the work who are realising, for the correction and development of the work under the direction the composition professor. The works will be worked and completion during the days of class in Canfranc, with the instrumentalist ones above mentioned, with the purpose of presenting them in the concert that will take place Monday 15 of July, within the programming of XVIII the Festival the Pyrenean International of Music Classic.

During the stay in Canfranc, one suggests the participants who, individually or in groups (2-3 people), they compose brief pedagogical works that integrate problematic the present ones of the composition, directed to the instrumentalist young people who participate in the interpretation courses which they are developed in the same dates in Canfranc. The instruments are those that are detailed more down, in the section Instrumental Area.

INSTRUMENTAL AREA

1. Individual INSTRUMENT []. Diverse professors [to see section TEACHING STAFF].

Violin | Viola | Cello | Contrabass | Flute | Oboe* | Fagot* | Clarinet | Piano 

Piano jazz & improvisation | Vocal jazz | Battery

member *Los of AFOES (Association of Fagotistas and Oboístas of Spain) can benefit from a 10% of discount on the tariffs of the course. 

2. Group INSTRUMENT [].

2.a) Orchestra of Cord. Prof. David MARCO.

Students of violin, violate, cello and contrabass.

2.b) Camerata de Cuerda. Prof. Nicolás CHUMACHENCO & Sergio CASTRO.

Students of violin, violate, cello and contrabass.

2.c) Piano Jazz & Improvisation [Piano without Score]. Prof. Guillaume OF CHASSY.

Students of piano.

Level 1: Students who realise the Factory for the first time.

Level 2: Students who already made this Factory in past editions of the course.

To go beyond the score, to trust the own ear, to express the personal creativity following some simple rules: this is the purpose of this factory. As starting point, a simple and familiar repertoire will be chosen: Bach, Schubert, Chopin, Satie, songs, etc.

The factory will be first of all playful, based on listening and the experimentation, avoiding all useless technical slang.

The objective is that each student only finishes the factory with a “toolbox that serves to him to practice, or group, the improvisation.

Operative way: single and pairs of piano, musical games of imitation and ask-answers.

By all means, all this works of ear and by oral transmission… always without score!

Contents:

  • to improvise on an agreed one (a scale): without tempo, soon with a determined tempo and a metric one.
  • to ornament from a fragment of classic subject (Bach, Schubert, Chopin, Satie…) or of song.
  • to improvise on 2, 3, 4 chords, without tempo, soon with determined tempo and one metric one.
  • illustration from a fragment of classic subject or chanson.
  • harmonic initiation to the reading of “grilles of jazz
  • free improvisations on sonorous matters
  • rythmical games and vocal groups.
  • commented hearing of record references.

2.d) Contemporary piano. Prof. Alberto ROSADO.

Students of piano.

This factory has as main target to the present time to approach students of degree average and superior to the world of the music written for piano from mid the past century.

Keys will be contributed to decode a language that still today continues seeming to us strange and ways will set out to undertake the study of each work, composer or period. All this, with the purpose of managing to enjoy a music composed in our time, to be interpreted by us.

It is only necessary to satisfy a requirement: to come with the opened mind and ears good, without prejudices, to approach a music that is going to you to surprise.

Agenda:

1. Students of Professional Degree

We will discover the new elements that the contemporary language contributes to the piano, and will play with them. The work will be of practical character, although the students you will be invited to the classes theoretical-practices of group of “preparation of the piano and the piano “touched on the inside.

We will work works created for pianists of this level by composers as Kurtág (Jatekok), Sciarrino, Rueda or Halffter; and works of a reasonable level as those of Cage, Cowell, Crumb or Lachenmann (Kinderspiel), between many others.

2. Students of Degree Superior

We will to the present time give a review to the history of music for keyboard from the twelve-tone technique, happening through the most representative composers of our recent history.

The agenda will be divided in five blocks, with the purpose of offering a clearer, direct information and ordinate. Four of them talk about to diverse stylistic periods of the history of the contemporary piano; and the fifth the study and presentation of the methods, specific compilations and publications to approach the notion of the contemporary youngest.

Block 1: The Serialism is not so serious.

We will go of the progressive disappearance of the tonality to the integral serialism and its last consequences, happening through the atonalismo and the twelve-tone technique. We will hear works of composers who have tried to break the schemes of western “classic music starting off of her, and with that never they have been broken contact completely. We will dedicate special attention to the development of the new spellings.

  • Schoenberg as “successor of the search initiated by Brahms. We will pay special attention to his Op. 11, 19, 23 and 25.
  • Webern, expression and concision. We will work his Kinderstücke and we will give an aesthetic look to his Op Variations. 27, and to the misunderstanding that these are going to generate between the later composers.
  • Of Boulez we will analyze his more pedagogical work: the Twelve Notations.
  • Stockhausen, the hiper-complexity of its Klavierstücke against the naivete of its Tierkreis, twelve pieces on symbols of the Zodiac.
  • Berio, the Latin face of the serialism. We will pause in its Six Encores.

Block 2: The Birds dance.

In this block we will discover to great composers for piano who are almost totally outside the serial movement. Their sources are: for some “the universal Folklore, for others the sounds of the Nature and for others the Mystic or the Religion. All this based on the conquest of a language that must much to composers as Bartók, Stravinsky, Ravel and Debussy.

  • Messiaen, its obsession by the song of the birds and its deep religiousness. We will approach some of his Preludes and some of his Glances on Niño Jesús most reasonable.
  • Takemitsu and its relation with the Japanese mystic and the poetry, in works as the closed eyes, Rain Tree Skecht 1 and 2, Uninterrupted Pause (3), Litany or its two pieces for children.
  • Ligeti and its relation with the folklore, not only of Eastern Europe but also of Africa. Their more youthful Ricercata Music and its works (including those of four hands) will approach us a composer who later will be made almost “impassable in his Studies.
  • And if it gives to time… music us of Youngest child, Sciarrino, Dusapin, etc.

Block 3: We play the piano on the inside?

We will enter in touch with the most experimental music, will see how the necessity arises to use new timbres in the piano and how in America a new way in this sense is opened. We will see the different symbols by which it chooses each composer and we will introduce ourselves in the piano to touch it on the inside, for “preparing it and amusing to us with him.

  • Cowell, to which it was happened to him to put for the first time within the piano. We will play with his Aeolian Harp and its Sinester Resonance.
  • Cage and his “piano preparation, piano as they gamelan and as a new one and enriched instrument. We will analyze some of his Sonatas and Interludes to part of his works pre – new age.
  • Crumb, a evolution in the writing for piano touched on the inside. Mysticism and efectismo in its two books of the Makrokosmos.
  • Lachenmann and its Güero or the Spanish Jesús Navarro and its Tortured Vinyl, another return of nut to play with our instrument.

Block 4: Piano + Electronics & Video

They are really the two ways to make interact a piano with electronic sounds: that these are recorded and they are sent from a computer, or that the sound of the piano is processed live. We will explore the short history of the relation of the piano with the electronic sounds from Stockhausen to Jodlowsky happening through Davidovsky, Estrada, Sources, Paredes or Humet.

Block 5: To play and to learn

We will dedicate it to the study of the methods, series of pieces and published collections to favor the direct bonding of students of different levels with the world from the contemporary piano, its language, its content and its symbols.

The Jatekok de Kurtag is most complete and usable of all the compendiums of pieces that at the moment we can find. We will try to go deep in his content, we will contribute keys to use it and we will play with some of his pieces.

The compilations of Universal Edition and other publishing houses.

The Album of Embroils, Inventions of Rueda or Quan the piano sings… of Santacana, firm Spanish bet to disclose the music of our composers.

2.e) Instrumental or vocal set [according to specialty]. Diverse professors.

Students of flute, Oboe, bassoon, clarinet, battery, vocal jazz.

3. COLLECTIVE MATTERS

3,1 Choir [Jazz, Gospel & Musical comedy]. Prof. Laura SIMÓ.

One of the objectives of this matter is the knowledge of the own voice and its possibilities, since it is the most direct instrument to canalize our musical and emotional expressivity, working the relaxation and the corporal position, as well as the breathing. The other is the discovery of the choir as instrument, learning to be listened to, to fill with paste, search a common sound, refining and a musical expression; and assuming the individual responsibility and of group. Also the diction will work, emphasizing the understanding of the importance of the text in the musical work.

As far as the repertoire, subjects of jazz, gospel and musical theater will work: after a brief introductory route by the history of these musical sorts a practical work will be realised on the voice, the rate and the techniques of breathing that are needed for a suitable interpretation.

3,2 Scenic Formation for Musicians [the transmission of the scenic emotion]. Prof. Nuria TO BE ACCUSTOMED TO.

What we felt five minutes before going to the scene?

How we managed the emotion of a text, of a score?

Through what mechanisms we transmitted our feelings and sensations so that they arrive with the same intensity at the public?

They are habitual questions that we considered in the process of tests and creation.

The emotions are there, they are innate and we must recognize them and learn to create the internal conditions to be able time and time again to reproduce them in each function or concert.

The theater game allows that we are conscious than we felt, of why we felt it and why we felt it, and thus to be able to work with solid bases that we transmitted from the truth.

3,3 Ritmología [Ethnic Percussion]. Prof. ?ngel PEREIRA.

“He is indispensable, in the field of music… to pay special attention to the rates of the human being, to favor in the boy (the inner boy who all we took inside) the freedom of his muscular and nervous actions, to help him to prevail on the resistance and inhibitions and to harmonize its corporal functions with those of the thought. (Jacques Dalcroze).

The human being is under the influence of hierarchies of internal rates that bring about harmony states to him or desarmonía. The process to enter harmony denominates synchrony. Everything begins from this internal rate that we must synchronize with we ourself and with our surroundings.

The Rate is a basic element in the universe: without Rate there would not be life. Etymological, the word rate comes from the Greek and means to flow. The Rate expresses the creative necessity of the human being. It influences in the states of the person, since it affects to our power channels; it develops the group instinct; it increases the confidence in we ourself; and it improves psychomobility and the reflections. It exerts, then, an enormous influence exceeds we in all the aspects: physicist, mental, emotional, spiritual… And he is, consequently, vitally important for the harmonic development of the future musical. Nevertheless, the approach to the Rate in the training centers does not accustom to being all the “existential one that he would be desirable: the mechanics of the reading and the writing is learned, but not to live and to feel the rythmical fact in himself.

The objective of this factory, directed by the ?ngel Pereira percussionist, is to contribute to the unfreezing psicofísico and the perception of the rate as corporal sensation. For it the accomplishment of exercises of improvisation and collective creation with diverse percussion instruments will be combined (drawer, djembé, darbuka…) with a corporal work based on movements of aikido and tai-chi.

4. PEDAGOGY SEMINARIES

4.1 the pedagogies of Forcada and Rolland: Application in the Spanish educative system. FORCED Prof. Claudio.

Conscious of the low level of the instrumentalist ones of cord in the United States in the decade of the 40, the Hungarian violinist Paul Rolland developed a pedagogy based on an analysis of the technique of the stringed instruments, so that it could be applied by any professor, independent of its context.

Claudio Forcada conjugates in its pedagogy the ideas of Rolland, Zweig, Havas and Suzuki; materials coming from Wohlfahrt, Kayser, Kreutzer and Flesch; and other influences coming from the fields of the general pedagogy and the motor learning.

Among others difficulties, the educational ones face the dilemma of when introducing each technique and what repertoire is adapted at every moment. In this course one will analyze the paper that the ideas of Paul Rolland have in the pedagogy of Claudio Forcada, including the organization of the classes, the programming of the first courses, the used material and the techniques of Rolland that uses in each course (position, vibrato, shifts of position, emission of the sound, refining, blows of arc, etc.). The course has an approach especially practitioner, reason why it is advised to the participants in the seminary to bring his own instrument, to prove the proposed techniques and exercises.

4,2 Pedagogy of the Cello. Prof. Iñaki ETXEPARE.

These six sessions on pedagogy of the cello intend to serve as support to the professionals and/or students of Degree Superior that is dedicated - or thought to dedicate itself, in the future next to the education of this instrument.
Each boy, each adult, represents an ample fan of possibilities, reason why the psychological treatment to apply to everyone will be different. Nevertheless, it is possible to set out a series of common arguments, that they intend to facilitate the technique and the good one for doing in which supposes the discipline of the learning of violoncello.
Next the contents are detailed to try in each encounter, that will go accompanied, in each class, of their pertinent practical exerciseses. Aside from mentioned here, any other subject at the request of the participants will treat in these sessions.

ENCOUNTER Number 1
First, second, third and fourth class of the nascent student. Treatment and working on a device. Disposition of the body and its movement, before sitting down in the chair and taking for the first time to the cello and the arc. Principles of the cellist and professor of Alexander Pedro de Alcántara Technique. Feet, legs, trunk and neck.

ENCOUNTER Number 2
The arc and its contact with the right hand and the arm, the point of balance. What part of the arc to use at the outset. The speed of the arc. Weigh-pressure. Meeting point. Problems and solutions of perpendicularity. The left hand and arm. It brings back to consciousness of the importance of the elbows. Philosophy of the use of the great parts of the body to facilitate the work of the small ones. Notes on the construction of the arc, resins, horsehairs…

ENCOUNTER Number 3
The necessity of the vibrato from the beginnings. The four ingredients of the vibrato.
Exercises for the search of the vibrato. The shifts of position and their mechanics. Back and legs in relation to the change of cord and shifts of position. To change of cord with the arc and the cello. System of work, methods, scales, studies, works. The stimulus. The importance of the thumbs.

ENCOUNTER Number 4
Presence of the parents. Class in group? , by pairs? , individual? The wheel of instruments. How to realise a class in group. The cellístico telephone, the inventiveness, the reaction. Examinations, hearing. When and how to touch in group, camera, orchestra. The cello in the schools. Frequency of the classes, vacation.

ENCOUNTER Number 5
Problems and solutions with: Vibrato. Shifts of position. Arc. Refining. Quality and volume of the sound. Musical quality. Interpretation. Breathing.
Origin, consequences and reeducations.

ENCOUNTER Number 6
Purchase and/or rent of the instrument. Changes of size of the instrument and the arc. Quality level of instruments and arcs in the class of a professor. Assembly of violoncello: bridge, soul, pins… Maintenance of the instrument. Construction – repair. Scores. “DIX ans avec him violoncelle, Musical Institute of the Villette, Paris.

4,3 Pedagogy of the Wind instruments. Prof. Juan Mari RUIZ.

Great part of the students who finish their studies in the conservatory and find a professional exit obtains it in the field of education, although the majority of them has attended the interpretation specialty. This implies that sometimes they find difficulties to transmit to the others what of natural form they know to do with his instrument, to show what is the most effective form to obtain it and to adapt its explanations at the level, age and capacities of each student. On the other hand, the students of the pedagogy specialty often lack a suitable approach to the own interpretative activity of their instrument.

With the aim of offering an especially practical guide that it serves as direction the professors novate to them, in this course the relation between the interpretative practice will be explained and the educational, and also the different paper to carry out and necessary adaptation to realise on the part of the instrumentalist one when acting as interpreter or professor. To this end different aspects will work from the learning of the wind instruments:

The own form to touch. How each instrumentalist one adapts the technique and the theory to its personal needs and characteristics. Analysis and self-knowledge.

How to transmit our abilities to the others. Verbal communication, instrumental exercises and examples beyond the imitation.

The initiation classes. The first weeks with the instrument. Adjustment and sequencing of the contents.

The day to day in class in the different levels. Structure of the classes and organization.

The collective classes and hearing.

How to prepare the educational practical part of a test. How it is possible to be shown in a few minutes the committee of selection for a job that is able to work with the students everything what implies to play.

Given the practical character of this course it is important that the students go with their instrument.

Our Agenda also includes:

MASTERCLASSES

Individual sessions (for external students) or additional (for students or enrolled in the course) of instrument class, of 1h or 45 minutes, according to age and/or level, with anyone of the professors of the course.

These classes can be solicitd at any time during the period of inscription, but they will be only confirmed to the matriculation closing, during the month of June.

PROFESSORS LISTENERS

The course is open also to professors who wish to attend as listeners, to the totality or a part of the course.

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STRUCTURE OF THE COURSES – ACCORDING TO SPECIALTIES –

COMPOSITION COURSE

Students of Professional Degree (to 3er cycle), Degree Superior and Postgraduate. He includes:

1. Classes of Composition | 8 sessions | Mornings of 10h to 14h.

2. Sessions of Practical Work & Tests | 8 sessions | Afternoons of 16h to 19h.

Note: These schedules are thought for a group of 8 students and could be reviewed in the case of not completing this number of enrolled.

INSTRUMENT COURSES

OPTION A

Students of Primer and Segundo Ciclo de Professional Grado (of 1º to 4º). He includes the following matters:

1. Instrument | individual class | 4 classes of 45 minutes

2. Instrument | group class | of 4 to 8 classes, according to specialty

One of these matters, according to the instrument:

a) Orchestra of Cord (violin students, violate, cello, contrabass).

b) Piano Jazz & Improvisation (piano students).

c) Instrumental group and/or Collective of Technique and Interpretation, according to the criterion of each professor (students of Oboe, clarinet, battery & percussion jazz, vocal jazz).

3. Choir | 8 classes

4. Ritmología | 8 classes

5. Scenic formation | 8 classes

OPTION B

Students of Third Cycle of Professional Degree (5ª and 6º), Degree Superior and Postgraduate. He includes the following matters:

1. Instrument | individual class| 4 classes of 1 hour

2. Instrument | group class | of 4 to 8 classes, according to specialty

One of these matters, according to the instrument:

a) Orchestra of Cuerda or Camerata, according to level (violin students, violate, cello, contrabass).

b) Piano Jazz & Improvisation or Contemporary Piano, to free election (piano students).

c) Instrumental group and/or Collective of Technique and Interpretation, according to the criterion of each professor (students of Oboe, clarinet, battery & percussion jazz, vocal jazz).

3. Choir | 8 classes

4. Ritmología | 8 classes

5. Scenic formation | 8 classes

OPTION C

Students of Cord or Piano | Degree Superior and Postgraduate | Professors. He includes the following matters, according to the specialty:

a) Students of Cord | Wind

1. Instrument | 4 individual classes of 1 hora*

2. Camerata de Cuerda | Instrumental set | 8 classes

3. Seminary of Pedagogy of the Cord | of the Wind, to choose between

a) The pedagogies of Forcada and Rolland.

b) Pedagogy of the Cello.

c) Pedagogy of the Wind instruments.

b) Students of Piano

1. Instrument | 4 individual classes of 1 hora*

2. Piano Jazz & Improvisation | 4 sessions, to alternating days

3. Contemporary piano | 4 sessions, to alternating days

they *Pueden to add individual classes of instrument to this basic option, paying I supplement corresponding by each (to see Tariffs).

 


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