Acerca de este Curso
4.8
504 calificaciones
120 revisiones

100 % en línea

Comienza de inmediato y aprende a tu propio ritmo.

Fechas límite flexibles

Restablece las fechas límite en función de tus horarios.

Aprox. 33 horas para completar

Sugerido: 8 hours videos and quizzes...

Inglés (English)

Subtítulos: Inglés (English)

100 % en línea

Comienza de inmediato y aprende a tu propio ritmo.

Fechas límite flexibles

Restablece las fechas límite en función de tus horarios.

Aprox. 33 horas para completar

Sugerido: 8 hours videos and quizzes...

Inglés (English)

Subtítulos: Inglés (English)

Programa - Qué aprenderás en este curso

Semana
1
1 hora para completar

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....
4 readings
4 lecturas
Notes from the Instructor10m
Syllabus10m
Join the Curtis Online Forum10m
Getting to Know You10m
Semana
2
2 horas para completar

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....
6 videos (Total 59 minutos), 3 readings, 1 quiz
6 videos
Music in the Time of Haydn and Mozart12m
Enter Beethoven8m
Sonata Form in Theory7m
Sonata Form in Practice14m
…and the Form of the Sonata8m
3 lecturas
Lesson Notes and Resources (How Things Were)10m
Lecture Corrections10m
Mr. Biss Asks...10m
1 ejercicio de práctica
How Things Were20m
Semana
3
2 horas para completar

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....
4 videos (Total 44 minutos), 3 readings, 1 quiz
4 videos
Expanding the Scope of the Sonata: Op. 7, 1st Movement15m
Early Experiments in Metaphysics: Op. 7, 2nd Movement7m
Respecting and Disrespecting Tradition: Op. 7, 3rd and 4th Movements11m
3 lecturas
Lesson Notes and Resources (The First Thirteen)10m
Mr. Biss Asks...10m
Sonata from "The First Thirteen"10m
1 ejercicio de práctica
The First Thirteen20m
Semana
4
2 horas para completar

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....
5 videos (Total 59 minutos), 4 readings, 1 quiz
5 videos
Re-shaping the Sonata: Op. 2619m
Blurring the Lines Between Fantasy and Sonata: Op. 27, No. 16m
Psychological Extremity in Music: Op. 27, No.215m
Subtlety and Innovation: Op. 289m
4 lecturas
Lesson Notes and Resources (New Paths)10m
Lecture Correction10m
Mr. Biss Asks...10m
Sonatas from "New Paths"10m
1 ejercicio de práctica
New Paths20m
4.8
120 revisionesChevron Right

Principales revisiones

por JRAug 23rd 2016

Fascinating trip through the marvellous Beethoven sonatas.\n\nAlthough I love them since many years, I'm very happy to see that It's always possible to progress.\n\nMany thanks Jonathan.

por JMOct 16th 2015

I highly recommend this course to anyone that wants to look DEEPER into music. Believe me, after you are done with this course. You will see classical music completely different.

Instructor

Avatar

Jonathan Biss

Neubauer Family Chair in Piano Studies
Performance Faculty

Acerca de Instituto de Música Curtis

The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. One of the most selective schools in the United States, Curtis accepts four percent of applicants each year on average. A tuition-free policy ensures that talent and artistic promise are the only considerations for admission. With a small student body of about 175, Curtis ensures that each young musician receives an education of unparalleled quality, distinguished by personalized attention from a celebrated faculty and a “learn by doing” philosophy. Curtis students hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings each year in Philadelphia and around the world....

Preguntas Frecuentes

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