Aural Training for Composers
|171SSAN||Z||2||1 exercise hours (45 min) of instruction per week, 41 to 51 hours of self-study||English, Czech||winter and summer|
Name of lecturer(s)
Learning outcomes of the course unit
The student is able to create a musical notation or determine in spoken language the character of the tonal material he/she has encountered: this material is drawn exclusively from factually discussed thematic areas. This training is suitable for practical use in composition, preparation, performance and audio recording of musical works.
The course may be taken more than once.
Mode of study
Prerequisites and co-requisites
Aural Training for Composers is a set of regular aural exercises involving pitch and rhythm. The aim is to gradually increase the student's ability to analyse melodic, harmonic and rhythmical structures in music by ear, to react promptly when describing in spoken language the phenomena encountered, and to transcribe musical notation.
The student regularly examines and increases his/her own analytical hearing skills. More complex melodic-harmonic and rhythmical examples are gradually applied in the course. Procedures and methods are derived from professional musical literature and scores, and systematically develop musical hearing, intonation when singing, musical memory, imagination, and musical comprehension.
Continuously prepared exercises include tonal (diatonic and chromatic), atonal material, single and multiple voices, harmonic and melodic intervals, chords (triple and multiple voices), and rhythmic structures of different characterisitics
Recommended or required reading
KOFROŇ, Jaroslav. Učebnice intonace a rytmu. 4. vyd. Praha: Supraphon, 1981. 208 s. [ear training exercises]
PERLMUTTER, Adam. Pitch perfect method, A Musician’s Guide to Recognizing Pitches by Ear. Cheltenham. (Australia): Hal Leonard Corporation, 2014. 82 s. ISBN 978-0-634-09778-2.
LAITZ, Steven Geoffrey. Skills and musicianship workbook to accompany The complete musician: an integrated approach to tonal theory, analysis, and listening. 3rd ed. New York: Oxford University Press, 2012. v, 501 s. :. ISBN 978-0-19-974280-6 noty.
LAITZ, Steven Geoffrey. Writing and analysis workbook to accompany The complete musician: an integrated approach to tonal theory, analysis, and listening. 3rd ed. New York: Oxford University Press, 2012. v, 650 s. :. ISBN 978-0-19-974279-0 noty.
LAITZ, Steven Geoffrey. The complete musician: an integrated approach to tonal theory, analysis, and listening. 3rd ed. New York: Oxford University Press, 2012. xx, 875 s. :. ISBN 978-0-19-974278-3 noty.
Assessment methods and criteria
Credit examination is awarded on the basis of a listening test covering four areas:
pitch recognition, notation of pitch in a single voice, notation of harmonic intervals and chords, and notation of a musical excerpt from a recording.
Minimum score on the test: 50 %
Minimum participation required: 60 %
Course may be repeated
Schedule for winter semester 2022/2023:
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Mon||09:05–09:50||Sylva STEJSKALOVÁ||Učebna KZT
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared