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Lecturer(s)
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Vilímec Gerhard, Prof. Mgr. MgA. Ph.D.
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Zoubek Lukáš, Mgr. Ph.D.
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Course content
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1. how to view a musical work and what constitutes it 1.1. a musical work as a structure (sounding form, structural relationships, music about music and absolute music) 1.2. the musical work as a language of emotion (emotional aesthetics) 1.3. the musical work as an instrument for expressing non-musical messages (programme music, semanticisation of music) 2. how to analyse a musical work 2.1. structural analysis of a composition in tonal style, classical-romantic repertoire and folk music 2.1.1. finding form (micro and macro form, periods and thematic areas) 2.1.1. harmonic analysis (harmonic functions and melodic tones) 2.2. structural analysis of polyphonic composition, instrumental and vocal counterpoint, temple music 2.2.1. counterpoint, note against note, voice and countervoice 2.2.2. imitative and non-imitative polyphony, leader and accompaniment, risposto and proposta, paired imitations 2.3. appendix: analysis of atonal music 3. didactic analysis (what can be shown in the work) 3.1. what means of expression were used and which one dominates? 3.2. is it possible to detect the form by listening and can it be pointed out in the presentation of the work in teaching? (e.g. symmetrical period as in folk music, etc.) 3.3. is it possible to discover the way a piece was created by listening and can it be pointed out in the presentation of a work in teaching? (revealing the process of imitation, etc.)
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Learning activities and teaching methods
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Lecture supplemented with a discussion, Seminar
- Preparation for an examination (30-60)
- 26 hours per semester
- Contact hours
- 26 hours per semester
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| prerequisite |
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| Knowledge |
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| Orientation in basic form types and harmonic functions in diatonic and chromatic |
| Skills |
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| Identify major themes or themes from music material and audio. |
| Competences |
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| N/A |
| learning outcomes |
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| Knowledge |
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| Apply knowledge of classical history music. |
| Apply to structural analysis. |
| Skills |
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| Analyze music tracks. |
| Specify form music. |
| On the basis of the information gathered, to formulate their views. |
| Use it in the pedagogical process. |
| Competences |
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| N/A |
| teaching methods |
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| Knowledge |
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| Seminar |
| Skills |
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| Seminar |
| Competences |
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| Seminar |
| assessment methods |
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| Knowledge |
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| Individual presentation at a seminar |
| Skills |
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| Seminar work |
| Competences |
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| Skills demonstration during practicum |
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Recommended literature
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Neo-Riemannian theory. Journal of music theory, roč. XLII, č. 2. Yale University Press. 1998.
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BEZDĚK, J. a R. FEIFERLÍKOVÁ. Několik poznámek ke vztahu hudebně teoretické analýzy a výchovy teorie interpretace (zaměřeno k volbě výrazových prostředků interpretace úprav lidových písní z Plzeňska pro zpěv a klavír od Oldřicha Blechy).. Hradec Králové: Magnanimitas,, 2012. ISBN 978-80-905243-2-3.
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Forte, Allen. The structure of atonal music. Yale University Press. 1973.
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Haimo, Ethan. Schoenberg?s transformation of musical language. Cambridge University Press. 2006.
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Hons, Miloš. Hudební analýza. Vydání první. 2010. ISBN 978-80-87258-28-6.
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JANEČEK, K. Harmonie rozborem.. Praha: Supraphon, 1982.
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Janeček K. Hudební formy.. 1. vyd., Praha: SNKLHU,, 1955.
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JANEČEK, K. Tektonika.. Praha - Bratislava: Supraphon, 1968.
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POŠ, V. Nauka o hudebních formách.. Praha: SHV, 1961.
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Straus, Joseph, N. The art of post-tonal analysis: Thirty-three graphic music analyses. Oxford University Press. 2022.
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