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Lecturer(s)
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Course content
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1. the term form, forming structure and tectonics, musical thought and method 1.1. the meaning and types of analysis, the dispute over the so-called content of music and the understanding of music 2. musical thought as theme, motive, figure (figuration, runs, passage etc), musical thought as method, notion of variation 3. elementary formative principles: alternation, contrast and repetition with or without change evolutionary and expositional type of music; analysis of strophic song 4. the phrase (micro-tectonics), period and small forms in two and three parts, return and small rondo, term of intermezzo, coda and introduction; analysis of composition of small forms in two and three parts (art song, folk song) 5. large two-part and three-part forms, large rondo; analysis of the composition of a large two-part and three-part form (artificial dance) 6. cyclical forms, sonata cycle and sonata form, terms of symphony and string quartet; framework analysis of a movement in sonata form (non-climbing exposition, performance and reprise) 7. cyclical forms, concerto and concerto-like principle, suite, terms of serenade, divertimento; framework analysis of concerto and suite (non-climbing macro-movements, reference to concerto-like action) 8. polyphony and counterpoint, organum, fugue and canon, terms motet and mass; analysis of fugal exposition (pointing out the basic principle of exposition, finding dux-comes) 9. stage forms, opera, melodrama and overture, related types of oratorio and passion; familiarisation with selected libretto
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Learning activities and teaching methods
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- Contact hours
- 26 hours per semester
- Preparation for an examination (30-60)
- 52 hours per semester
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| prerequisite |
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| Knowledge |
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| basic orientation in musical text |
| Skills |
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| skill of reading in musical text |
| Competences |
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| N/A |
| learning outcomes |
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| Knowledge |
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| Satisfying the requirements of the knowledge and practical-application parts of the summative test, or the quantitative and qualitative level of knowledge and application skills that would potentially guarantee success in that test. |
| Skills |
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| Further diversification of students' application skills results from the content of the course (see), i.e. from contacts with larger and more compositionally demanding musical works in predominantly large forms. |
| Competences |
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| N/A |
| teaching methods |
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| Knowledge |
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| Lecture with visual aids |
| Lecture supplemented with a discussion |
| Interactive lecture |
| Skills |
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| Lecture with visual aids |
| Interactive lecture |
| Discussion |
| Competences |
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| Lecture supplemented with a discussion |
| Interactive lecture |
| assessment methods |
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| Knowledge |
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| Test |
| Skills demonstration during practicum |
| Skills |
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| Test |
| Skills demonstration during practicum |
| Competences |
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| Test |
| Skills demonstration during practicum |
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Recommended literature
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BEZDĚK, J. a R. FEIFERLÍKOVÁ. Několik poznámek ke vztahu hudebně teoretické analýzy a výchovy teorie interpretace. Magnanimitas. 2012.
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CAPLIN, E. W. Analyzing Classical Form, an Approach for the Classroom. Oxford University Press. 2015.
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COHN, R. Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective. Journal of music theory, roč. 42, č. 2., s 167-180. Yale University Press. 1998.
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FALTUS, L. a M. ŠTĚDROŇ. Formování hudby. Brno: JAMU. 2003.
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HONS, M. Hudební analýza. Togga. 2010.
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JANEČEK, K. Hudební formy. SNKLHU. 1955.
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JANEČEK, K. Tektonika. Supraphon. 1968.
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MICHELS, U. Encyklopedický atlas hudby. Nakladatelství Lidové noviny. 2000.
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ZENKL, L. ABC hudebních forem. Bärenreiter Praha. 2014.
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