Music Aesthetics Seminar 2

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Subject guarantor:

Roman DYKAST, Jan VIČAR

Name of lecturer(s):

Roman DYKAST, Jan VIČAR

Learning outcomes of the course unit:

The course aim is to demonstrate abilities in the independent critical essays on aesthetics topics through a course paper and joining in discussions during classes which should lead to the development of critical thought and argumentation skills.

Mode of study:

Discussions and coursework evaluation

Prerequisites and co-requisites:

Registration to Music Aesthetic 2 and fulfilling of credit requirements for Music Aesthetics 1.

Course contents:

The Music Aesthetic course continues the class on general aesthetics, which the students completed in bachelor's study. Student complete a course paper on a selected aesthetics topic or develop a comparison of aesthetic judgements based on an aesthetic evaluation of various interpretations in performance.

This course is linked to lectures in the introduction to the aesthetics of music interpretation (aesthetics of music performance art) from the Music Aesthetics course.The aim of the course is for the students to demonstrate the ability to independently, in the course paper, address music aesthetic topics. In the course's introductory lesson, the instructor establishes the basic general rules for completing the course paper: topic selection; its precise content limits or constraints; searching for relevant literature or sources; rules for citations and paraphrasing. The course papers are presented by the students in class. Part of assessing the course paper is the subsequent discussion over the manner of development and verification of the knowledge of the selected topic through the response to questions that arise in discussion. The overall student evaluation contains also the active participation in classes and ability and desire to discuss the topic of the course paper at hand.

Recommended or required reading:

Recommended instructions for selection of topic, critically working with literature and writing technique (proper citation, paraphrasing techniques for foreign texts, notations, etc.):

Eco, Umberto: Jak napsat diplomovou práci. Votobia, Olomouc 1997.

Šimek, Dušan?Kubátová, Helena: Od abstraktu do závěrečné práce. Jak psát (a možní i napsat) závěrečnou práci ve společenskovědních oborech. Univerzita Palackého, Olomouc 2002.

Recommended literature for music performance aesthetics::

Zich, Jaroslav: Kapitoly a studie z hudební estetiky. Praha 1987.

Vičar, Jan-Dykast, Roman: Hudební estetika. Praha 1998.

Harnoncourt, Nicolas: Hudobný dialóg. Myšlienky k Monteverdimu, Bachovi a Mozartovi. Bratislava 2003.

Assessment methods and criteria:

To receive credit, the student must fulfill 100% of the required criteria which are proportionally divided into:

Course work: 50%

Class participation, ability and desire to discuss: 25%

Class attendance: 25% (attendance much exceed half of the classes).

Course web page:

http://www.hamu.cz/katedry/katedra-teorie-a-dejin-hudby/studijni-texty

Note:

none

Schedule for winter semester 2015/2016:

The schedule has not yet been prepared

Schedule for summer semester 2015/2016:

	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	místnost 2017 Učebna KTDH 2017 (Lichenštejnský palác) DYKAST R. 08:00–08:45 (paralelka 1)místnost 2017 Učebna KTDH 2017 (Lichenštejnský palác) DYKAST R. 08:45–09:30 (paralelka 2)místnost 2017 Učebna KTDH 2017 (Lichenštejnský palác) DYKAST R. 12:00–12:45 (paralelka 3)
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Thu	08:00–08:45	Roman DYKAST	Učebna KTDH 2017 Lichenštejnský palác		paralelka 1
	Thu	08:45–09:30	Roman DYKAST	Učebna KTDH 2017 Lichenštejnský palác		paralelka 2
	Thu	12:00–12:45	Roman DYKAST	Učebna KTDH 2017 Lichenštejnský palác		paralelka 3

The subject is a part of the following study plans:

• Composition (Mg) - Specialization electroacoustic music (next compulsory subject)
• Composition (Mg) - Specialization Composition (next compulsory subject)
• Conducting (Mg) (next compulsory subject)
• Operatic Directing (Mg) (next compulsory subject)
• Voice (Mg) (next compulsory subject)
• Harpsichord (Mg) (next compulsory subject)
• Piano (Mg) (next compulsory subject)
• Organ (Mg) (next compulsory subject)
• Harp (Mg) (next compulsory subject)
• Violin (Mg) (next compulsory subject)
• Double Bass (Mg) (next compulsory subject)
• Guitar (Mg) (next compulsory subject)
• Cello (Mg) (next compulsory subject)
• Viola (Mg) (next compulsory subject)
• Bassoon (Mg) (next compulsory subject)
• Flute (Mg) (next compulsory subject)
• Oboe (Mg) (next compulsory subject)
• Clarinet (Mg) (next compulsory subject)
• French Horn (Mg) (next compulsory subject)
• Trombone (Mg) (next compulsory subject)
• Trumpet (Mg) (next compulsory subject)
• Tuba (Mg) (next compulsory subject)
• Music Production (Mg) (next compulsory subject)
• Music Directing (Mg) (next compulsory subject)
• Music Theory (Mg) (next compulsory subject)
• Sound Design (Mg) (next compulsory subject)
• Percussion Instruments (Mg) (next compulsory subject)
• Percussion Instruments-Jazz (Mg) (next compulsory subject)
• Double Bass-Jazz (Mg) (next compulsory subject)
• Piano-Jazz (Mg) (next compulsory subject)
• Guitar-Jazz (Mg) (next compulsory subject)
• Saxophone-Jazz (Mg) (next compulsory subject)
• Chamber Performance (Mg) (next compulsory subject)