To provide training focused on the interpretation of the guitar repertoire through one-to-one and group lessons taught by top virtuosi.
To develop technical procedures that allow mastery of the instrument.
To acquire a wide musical knowledge and to enable the application of appropriate instrumental resources.
Students whose native language is not Spanish may continue intensive Spanish courses, in such a way as to ensure that at the end of the master, their Spanish skills enable them to cope professionally in a language spoken by over five hundred million people.
2017 Students must be in Alicante on Friday January 13th, 2017 for a planning meeting and opening ceremony.
Master will finish on June 30th, closing ceremony and handling diplomas.
The program covers a wide range of repertoires, which the students are expected to play in their masterclasses.
Courses on solo guitar performance and technique
- The vihuela and baroque guitar repertoire
- The music of J.S. Bach on plucked instruments
- The guitar repertoire in the nineteenth century
- The Spanish guitar repertoire in the twentieth century
- The non Spanish guitar repertoire in the twentieth century
- Guitar music from South America
- Concertos for guitar and orchestra
- The art of transcribing for guitar
Each course takes place over an intense week, from Monday to Saturday, where the professors work individually and collectively with students. Each week starts with a recital offered by the professor.
Each students will have two one-to-one lessons and there will be two seminars covering theoretical approaches to performance.
Regarding the repertoire you’ll be playing during the course, you may choose works or movements from them based on a free election, although you may have noticed that each professor gives his class attending a specific content.
Course of neuroscience and physiology in the instrumental practice
A weekly course (23 hours) about the physiological aspects involved in instrumental performance, stress and emotions and their influence on instrumental practice.
It’s divided into two modules: each students will have a 45 minutes one-to-one lesson and 12 hours of theoretical classes.
This work constitutes an autonomous and personal task of the student. The work will be supervised by a teacher and, in accordance with the rules it will be presented and defended in an academic tribunal. The thesis should include the following sections:
- Making an unpublished transcription for solo guitar, with a maximum duration of ten minutes.
- Recording such transcription.
- Explanation of the researching process in writing, in which should appear as the most important point the justification of the instrumental suitability of the chosen work.This section should follow the usual procedure of university academic papers, exposing the interpretive concept or concepts that have been used for the development of the work. Personal reflections about the work transcribed must also be included.
Chamber Music Course
The repertoire is based in a free selection. All students will be part of duets, trios, quartets…
Course of performance and conducting practice
A weekly course (12 hours) about the guitar as a soloist instrument and its integration in the orchestra. Practice of rehearsal.
The third of the concerts will take place in June and will be evaluated.
Courses on solo guitar performance and technique
1. The vihuela and baroque guitar repertoire
- Vihuela books. Features of the repertoire. Style procedures. Ornamentation.
- The four-course guitar. Features of the repertoire.
- The lute. National Schools. Style procedures. Ornamentation.
2. The music of J.S. Bach on plucked instruments
- Instrumental music by J. S. Bach. Style procedures. Ornamentation.
- Suites for violin(BWV 1001-1006).
- Cello Suites (BWV 1007-1012).
- Other instrumental works (BWV 995-999).
3. The guitar repertoire in the nineteenth century
- Precedents of the nineteenth century Spanish guitar school. The works by Fernando Sor and Dionisio Aguado. Style procedures
- The Spanish school in the second half of the nineteenth century. Francisco Tárrega. Style procedures
- Other European schools.
4. The Spanish guitar repertoire in the twentieth century
- The “Homenaje a Debussy” by M. Falla and the significance of Miguel Llobet. The guitar repertoire between 1900 and 1925.
- The guitar and the Spanish “Generation of 27”
- The significance of Andrés Segovia and his influence on composers.
- Essential works of the twentieth century.
5. The non spanish guitar repertoire in the twentieth century
- Essential works of the twentieth century
6. Guitar music from South America.
- The influence of the Spanish masters in the development of the guitar during the first part of the twentieth century in South America.
- The guitar technique in the School of Rio de la Plata.
- Influence of popular music.
- Essential works of the twentieth century in South America.
7. Concertos for guitar and orchestra
- Concertos for lute and orchestra from the eighteenth century.
- Concertos for guitar and orchestra from the nineteenth century.
- Concertos for guitar and orchestra from the twentieth century.
- Works for solo guitar by Joaquin Rodrigo.
8. The art of transcribing for guitar.
- Technical approach for transcribing.
- The harpsichord repertoire in the seventeenth and eighteenth century.
- The piano repertoire in the nineteenth century.
- Spanish nationalism around 1900. Works by Isaac Albéniz and Enrique Granados.
Chamber music involving guitar
- Chamber music involving plucked instruments before nineteenth century.
- Guitar duets.
- Trios for guitar
Performance and conducting practice for guitar soloists.
- The guitar as a soloist instrument and its integration in the orchestra.
- The practice of rehearsal.
- Public performance and recording of the works for guitar and orchestra. Recording techniques with a recod producer.
- The relationship between the soloist, the composer and the conductor before a First Performance.
- Conducting practice with a soloist.
Neuroscience and physiology in the instrumental practice
- Overview of the musicians’ brain and the physiological aspects involved in instrumental performance.
- Musicians’ injuries and movement disorders, prevention strategies.
- Stress and emotions and their influence on instrumental practice.
- Syllabus for the modern performer according to physiology and neuroscience knowledge.