Structure of Music II - OPBH4H052A
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Basis for comprehensive analysis builds on the knowledge acquired in the subject Structure of Music I and is supplemented by deepened knowledge in the field of music history while focusing on specific issues of selected phenomena and affecting general and special relations. Music-historical issues include a selection of styles and personalities that illustrate the typical characteristics of the epoch and style and importance for the development of musical culture.
Last update: Nedělka Michal, prof. PaedDr., Dr. (29.08.2023)
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The student demonstrates knowledge and skill in the complex analysis of a musical work. The student also demonstrates the ability to select an appropriate piece of music in terms of range and clarity of musical means of expression. For the purpose of analysis, a piece of music is selected that can be used in the second level of primary school and in secondary school. The student interprets the results of the analysis by such methods and linguistic means as to demonstrate his/her readiness for the pedagogical interpretation of the musical work. A comprehensive approach ensures that the student demonstrates knowledge of historical context and an orientation to music history. Last update: Nedělka Michal, prof. PaedDr., Dr. (10.09.2024)
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Expected preparation time for 1 hour lecture 30 minutes Expected preparation time for 1 exercise 30 minutes Self-study of literature (per semester) 30 hours Work with study materials (per semester) 20 hours Completion of continuous assignments (per semester) 20 hours Last update: Nedělka Michal, prof. PaedDr., Dr. (10.09.2024)
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CROCKER, Richard L. A History of Musical Style. New York, 1986. DAHLHAUS, Carl: Nineteenth-Century Music. Berkeley, Los Angeles, London: University of California Press, 1989 (překlad Musik des 19. Jahrhunderts, viz Neues Handbuch der Musikwissenschaft, Band 6)
COOK, Nicholas. A guide to musical analysis. Oxford University Press, 1994. 376 pp. ISBN 0198165080, 9780198165088.
Last update: Nedělka Michal, prof. PaedDr., Dr. (27.08.2019)
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Ongoing work in teaching with a tolerance of absence in 2 teaching terms. Independent analysis of a selected composition. Last update: Nedělka Michal, prof. PaedDr., Dr. (29.08.2023)
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1. Meaning in music - conception of the concept, historical perspective, current tendencies, pedagogical applications Last update: Nedělka Michal, prof. PaedDr., Dr. (29.08.2023)
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The student explains the principles of understanding meaning in music - the concept of conception, historical perspective, current tendencies, pedagogical applications. The student describes the role of liturgical music for original and concert purposes and the intersection of purposes in musical practice (Palestrina, Bach, Beethoven, Gounod, Dvořák, Eben, Hanuš, Pololáník). The student describes the key features of Romantic and contemporary vocal music, and characterize the role of words in concretizing musical messages (19th and 20th century choral music, relationship of words and music). The student names key representatives of Romantic and contemporary song music (Schubert, Schumann, Brahms, Janáček, Bořkovec, Eben), list the characteristics of this work. The student characterizes the principles of program music, describe the differences and relationships between musical and non-musical developments, list key representatives of program music and their works (Berlioz, Liszt, Smetana, Dvořák, Novák). The student describes the key features of Impressionist music and the influence of Impressionism on the work of other composers (Debussy, Novák). The student describes the changes of expression in musical history, especially at the border of Romanticism and Expressionism, and list key representatives of this transition, including key works (Liszt, Schoenberg, Berg, Hába, Sommer, Klusák). The student characterizes the national schools of Romanticism, Folkorism and Neo-Folklorism, their representatives and key works (Smetana, Dvořák, Fibich, Novák, Janáček, Enescu, Bartók, Kodály). The student characterizes the principles of extended tonality, names the key representatives and characterizes their major works (Prokofiev, Stravinsky, Martinů, Krejčí, Eben) The student characterizes small forms and genre pictures and their role in culture and music education (Schubert, Schumann, Smetana, Janáček, Hanuš, Sluka). The student characterizes nonartistic music, relationships with artistic music in history and in the present. The student names 3 Czech and 3 other composers in whose works these influences appear and give examples of their works. The student describes the role of incidental music (music for film, drama) and the role of music for social occasions (weddings, marches, types of ceremonies). The student gives 3 examples of music for drama, 3 examples of music for film and 5 examples of music for social occasions. Always include the composer of the music and the title of the drama, film or piece of music. The student selects a piece of music for analysis that is suitable for analytical and didactic application. He/she will justify his/her choice by the range, structure of the piece and the content of the musical means of expression. The student analyses the composition comprehensively and presents the results of the analysis using such linguistic means as to demonstrate his/her readiness for the pedagogical interpretation of the musical work. Last update: Nedělka Michal, prof. PaedDr., Dr. (10.09.2024)
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