The course integratively includes the following disciplines: music theory, intonation, auditory analysis, history of music. Course contents: basic principles of vocal, instrumental and contemporary counterpoint, non-tertiary chord structure, chord combinations, ecclesiastical and modern European modality, bitonality and polytonality, extended tonality, atonality, seriality, aleatorics. Analysis and interpretation of instrumental and vocal literature. History of European music - from the beginning to the end of the 16th century, church fashions, vocal polyphony - on a theoretical and practical level.
Last update: Kadrnožková Monika, PhDr., Ph.D. (27.10.2020)
The course integratively includes the following disciplines: music theory, intonation, auditory analysis, history of music. Course contents: basic principles of vocal, instrumental and contemporary counterpoint, non-tertiary chord structure, chord combinations, ecclesiastical and modern European modality, bitonality and polytonality, extended tonality, atonality, seriality, aleatorics. Analysis and interpretation of instrumental and vocal literature. History of European music - from the beginning to the end of the 16th century, church fashions, vocal polyphony - on a theoretical and practical level.
Last update: Kadrnožková Monika, PhDr., Ph.D. (27.10.2020)
Descriptors
Expected preparation time for 1 hour lecture - 20 minutes Expected preparation time for 1 exercise - 60 minutes Self-study of literature (per semester) - 15 hours Work with study materials (per semester) - 10 hours Completion of continuous assignments (per semester) - 15 hours
Seminar papers - 5 hours Preparation for credit - 5 hours Preparation for and examination - 5 hours
Last update: Pecháček Stanislav, prof. PhDr., Ph.D. (11.09.2022)
Course completion requirements
Credit: 1) Min. 70% attendance 2) Activity in group discussion of readings from scholarly texts in music history 3) Development and presentation of original compositions for the purposes of pedagogical practice: 1 modal + 1 serial 4) Preparation and submission of a handout with activities for the second level of primary school (according to the assignment, work in groups) 5) Successful completion of a test on the history of music, which will include, among other things, an analytical and listening part (see list to be published at the first lecture). 6) Intermediate mastery of the exercises from the scripts (Intonation and Aural Analysis I-III), the assigned problems, and the supplementary choral material. Singing from the sheet at the level of the material discussed. Written test covering the material of the 3rd semester. Two remedial terms. There will be a maximum of three dates for credit - 1 regular and 2 make-up dates (applies to the Music History and Intonation and Aural Analysis test; previous sub-assignments may be taken during the semester).
Last update: Pecháček Stanislav, prof. PhDr., Ph.D. (11.09.2022)
Literature -
BUTTERWORTH, A. Harmony in Practice. Grades 6-8. London: ABRSM, 1999. ISBN 978185472833.
CHOI, Y-Ch. Counterpoint (Palestrina Style) Vol. I. ISBN 978-89-967266-1-6
TAYLOR, E. AB Guide to Music Theory. Part 1. London:ABRSM, 1989. ISBN 9781854724465.
TAYLOR, E. AB Guide to Music Theory. Part 2. London: ABRSM, 1991. ISBN 9781854724472.
WALTON, Charles W. Basic Form in Music. UnivCounterpoint (Palestrina Style)ersity of Michigan: Alfred Music, 1974. ISBN 978-0-88284-025-3.
PECHÁČEK, S. Vokállní intonace a sluchová analýza II. Praha: PedF UK, 2006. ISBN 80-7290-263-6.
PECHÁČEK, S. Vokállní intonace a sluchová analýza III. Praha: PedF UK, 2006. ISBN 80-7290-264-4.
BRINEGAR, D. Pitch Perfect: A Theory and Practice of Choral Intonation. USA, 3019. ISBN 9781695710634.
JORDAN, J.; MEHAFFEY, M. Choral Ensemble Intonation. USA: Houston, 2001. ISBN 9781579991609.
Last update: Pecháček Stanislav, prof. PhDr., Ph.D. (08.09.2024)
BUTTERWORTH, A. Harmony in Practice. Grades 6-8. London: ABRSM, 1999. ISBN 978185472833.
CHOI, Y-Ch. Counterpoint (Palestrina Style) Vol. I. ISBN 978-89-967266-1-6
TAYLOR, E. AB Guide to Music Theory. Part 1. London:ABRSM, 1989. ISBN 9781854724465.
TAYLOR, E. AB Guide to Music Theory. Part 2. London: ABRSM, 1991. ISBN 9781854724472.
WALTON, Charles W. Basic Form in Music. UnivCounterpoint (Palestrina Style)ersity of Michigan: Alfred Music, 1974. ISBN 978-0-88284-025-3.
PECHÁČEK, S. Vokállní intonace a sluchová analýza II. Praha: PedF UK, 2006. ISBN 80-7290-263-6.
PECHÁČEK, S. Vokállní intonace a sluchová analýza III. Praha: PedF UK, 2006. ISBN 80-7290-264-4.
BRINEGAR, D. Pitch Perfect: A Theory and Practice of Choral Intonation. USA, 3019. ISBN 9781695710634.
JORDAN, J.; MEHAFFEY, M. Choral Ensemble Intonation. USA: Houston, 2001. ISBN 9781579991609.
Last update: Pecháček Stanislav, prof. PhDr., Ph.D. (08.09.2024)
Syllabus
The course consists of three disciplines, which are thematically interconnected.
The main part of the course content is focused on ecclesiastical modality and its setting in context: - music theoretical (modality, basics of counterpoint) - intonation and aural analysis - music historical Modality, extended tonality and atonality, basics of counterpoint: 1. Ecclesiastical modality 2. Modality of folklore, exotic and 20th century modality 3. Extended tonality (alterations, chords of non-tertian construction, thickened chords, chordal combinations) 4. Free and organized atonality 5. Basics of counterpoint
Intonation and auditory analysis: 1. Churche and exotic modes 2. Prepared chromatic tones 3. Free onsets of alternate degrees 4. Augmented and diminished intervals 5. Harmonic cadences with extra-tonal dominants 6. Rhythmic exercises (minor and major triplets, two-beat rhythm, irregular division of periods)¨
Last update: Pecháček Stanislav, prof. PhDr., Ph.D. (11.09.2022)
Learning outcomes
History of music:
The student is chronologically and meaningfully oriented in the periodization of music history.
The student has mastered the issues of the various periods of music history from the epoch of music of prehistoric cultures to the High Baroque.
The student names and musically characterizes preassigned examples from the music history of the above period.
The student describes in writing the main points of stylistic and stylistic change that occurred during the above period.
The student lists the main representatives of the various streams of music of the above period, using their works to demonstrate an understanding of the developmental changes and key characteristics of each style.
Modality, extended tonality and atonality, and the basics of counterpoint:
The student is oriented to issues of religious, folk, exotic modality and modern modality.
The student is oriented to the problems of extended tonality, free and organized atonality.
The student has mastered the basic contrapuntal principles and can analyze them in musical notation.
The student can create original elementary modal and atonal compositions.
Intonation:
Upon completion of the course, the student should be able to - intonate and analyse basic and derived intervals - intonate and analyse triplets and their inversions - intonate and analyse seven chords and their inversions - intonate and analyse diatonic scales, church and folk modes - sightsing diatonic melodies, especially folk songs, including diatonic modulations - sightsing simple chromatic melodies
Last update: Bělohlávková Petra, PhDr., Ph.D. (20.09.2024)
