The Development and Aesthetics of Musical-Dramatic Thought 1

Subject guarantor:

Vladimír FRANZ

Name of lecturer(s):

Vladimír FRANZ

Learning outcomes of the course unit:

The course material covered serves to:

a/ an overall cultivated education and orientation in historical contexts;

b/ a secure distinguishing of individual forms and manners of music drama considerations;

c/ refine the sense for tempo, rhythm and increase in the quality of the perception of music;

d/ the application of acquired knowledge in practice.

Mode of study:

Lectures, listening classes, written tests.

Prerequisites and co-requisites:

Awareness of European cultural events and relationships. A musical ear and empathy.

Recommended optional programme components:

Visits to exhibits, concerts, theatre performances, films, listening to music and literature readings.

Course contents:

This course covers researching the relation of music to drama, their interactivty, as wells as questions in the construction and mutual creation of both components. There is an effort to classify not only common meating points but also the differences and particulars in individual models of music-drama considerations based on historical development and, later, the application of that knowledge in practice.

In the general section is an introduction to the development of contemporary European music - approx. from Monteverdi to the present with an emphasis on the historical conditions of the music-drama consideration of the composers in various time periods. This is in the differences in styles, forms, selected tools and manners of interpretation. As well, the students will receive a glimpse into modern European graphic arts, particularly, the relation to music-drama styles. General instruction is distributed over 4 semesters. The material of each semester corresponds to one of the four basic, geographically defined currents in European music thought:

1) Russia

2) France plus the Romance world/ touching upon Anglo-Saxon and Northern cultures.

3) Germany and Central Europe

4) Bohemia

The presentation does not follow a historical path. It is presented with a view to the comprehension of the students:

a/ Romance - its multi-mediality, visual, emotion and general comprehensibility;

b/ The 20th century - destruction of Romance principles, rationalization, issues of artist and consumer communication, changes in the relationship of the artist and society;

c/ Classical - rationality and mathematics hidden in Rokoko environments, periods of constituitive basic music forms;

d/ The Baroque and its sentimentality;

e/ The Renaissance - music for man, music brought down to the ground;

f/ The Gothic / rhythm revolution.

Recommended or required reading:

G.Černušák: Dějiny evropské hudby

J.Smolka: Skladatelé českého baroka a klasicismu

V.Štěpánek: Francouzská moderní hudba

Branberger: Opera

Očadlík, Hostomská: Opera

J.Trojan: Dějiny opery

J,.Smolka Česká kantáta a oratoritum

Očadlík: Svět orchestu I.-II.

M.Schnierer: Svět orchestu dvatátého století I.-III.

J.Havlík: Česká symfonie po r. 1945

R.Craft: Rozhovory s I.Stravinskym

A.Honneger: Zaříkání zkamanělin, Jsem skladatel

E.Hanslick: O hudebním krásnu, Kritiky.

Planned learning activities and teaching methods:

Through lectures and listening activity students are thoroughly introduced to the material covered whose mastery will be verified through a written test.

Assessment methods and criteria:

Secure management of the material covered, on-going grading through testing, credit test and oral exam.

Course web page:

Note:

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Režie a dramaturgie činoherního divadla (Bc.) (compulsory subject)
• Teorie a kritika (Bc.) (optional subject)
• Teorie a kritika (Mgr.) (optional subject)
• Herectví činoherního divadla (Mgr.) (compulsory subject)