History of dance music 2

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Subject guarantor:

Dorota GREMLICOVÁ

Name of lecturer(s):

Dorota GREMLICOVÁ

Learning outcomes of the course unit:

This course develops knowledge of the history of music. It covers the particulars of dance music, its nature and historical development in the European context.

Mode of study:

Presentation, music recording listenings, study of music and movement notation.

Prerequisites and co-requisites:

This course requires completion of History of Music Theory and Score Analysis. Score reading skills are necessary. A music education and experience is advantageous. The content is continues History of Dance Music 1.

Course contents:

The presentation continues the material covered in the first semester, continuing chronologically the development of European music with an emphasis on the interactions of folk music, commercial music, concert works and ballet music.

The presentation begins with the 18th century in which particular attention is devoted to the development of the dance forms: Menuet, contredanse and allemande and the rise of waltz forms those related to it, their modification in folk music, music for dance and theatre dance music. Particular attention is devoted to W.A. Mozart, A. Campry, J.P. Reameau, L. van Beethoven, Ballet d' action composers and composers of ballet music at the end of the 18th century (R. Kreutzer, A, Jírovec, and others).

In the 19th century the presentation is devoted, in particular to the phenomena of utilitarian dance music collection, ballet music linke to Romance ballets (C.A. Adam, J. Schneitzhoeffer, L. Delibes, P.I. Tchaikovsky), ballet music in opera and their design (Auber, Meyerbeer, Wager, and others). Attention is also devoted to the recording of folkdance music, particularly in Bohemia.

An important period at the beginning of the 20th century is reflected in detail in the works by the main figures of I. Stravinsky, S. Prokofiev, M. Ravel, C. Debussy, M. de Falle, the „Six Composers“, B. Martinů, E. Schulhoff), further, the devlelopment of the modern dance form influenced by jazz culture, forming of the early music and early dances are traced.

In the period after WWII examples of dance and music interaction are selected (collaborations of M. Cunningham and J. Cage, Concrete music composers and M. Bejart, and the like, and the development of commercial dance.

Recommended or required reading:

Kemp, Peter: The Strauss Family: Portrait of a Musical Dynasty, Kent 1985.

Mailer, Franz: Joseph Strauss: Genie wider Willen, Wien 1977.

Lederman, Minna ed.: Stravinsky in the Theatre, New York 1949.

Stravinsky, Igor: Stravinsky: Autobiography, New York 1936.

Stravinsky, Igor; Craft, Robert: Conversations with Igor Stravinsky, Garden City, N.Y. 1959.

Warrack, John: Tchaikovsky Ballet Music, London 1979.

Cage, John: Silence, Middletown, Conn. 1961.

Guest, Ivor: Two Coppélias, London 1970.

Studwell, William E.: Adolphe Adam and Léo Delibes: A Guide to Research, New York 1987.

Assessment methods and criteria:

Credit is awarded based on:

Lecture participation

completion of writing assignments

oral exam

During the semester literature readings and independent music recording listenings are required. The exam is written and oral. The overall grading is comprised of 50% for the written assignments (essays) and 50% for the oral exam.

Requirement for successful completion of the course: lecture participation, independent study, completion of writing assignments, passing of the oral exam.

Course web page:

Note:

None

Schedule for winter semester 2016/2017:

The schedule has not yet been prepared

Schedule for summer semester 2016/2017:

The schedule has not yet been prepared

The subject is a part of the following study plans: