Aural Training for Composers

Display Schedule

Code Completion Credits Range Language Instruction Semester
171SSAN credit 2 1 exercise hours (45 min) of instruction per week, 41 to 51 hours of self-study English, Czech winter and summer

Subject guarantor

Name of lecturer(s)

Sylva STEJSKALOVÁ

Department

The subject provides Sound Design Department

Contents

Learning objectives:

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.

Thematic areas:

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

Learning outcomes

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.

Prerequisites and other requirements

not

Literature

Required bibliography:

KOFROŇ, Jaroslav. Učebnice intonace a rytmu. 4. vyd. Praha: Supraphon, 1981. 208 s. [ear training exercises]

Recommended bibliography:

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.

Web:

https://www.themusiclab.org/

Evaluation 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 %

Note

not

Further information

Course may be repeated

Schedule for winter semester 2024/2025:

06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
10:40–11:25 Sylva STEJSKALOVÁ Učebna KZT
Liechtenstein Palace		 parallel1

Schedule for summer semester 2024/2025:

The schedule has not yet been prepared

The subject is a part of the following study plans