Compositions Analysis 4

Display Schedule

Subject guarantor:

Vít HAVLÍČEK

Name of lecturer(s):

Ivana BAŽANTOVÁ, Vít HAVLÍČEK, Miloš HONS, Lukáš MATOUŠEK, Miroslav PUDLÁK

Learning outcomes of the course unit:

The course aim is a maximal glimpse into a music text in connection with knowledge acquired in the first year (Composition Analysis 1 - 108RS1 and Composition Analysis 2 - 108RS2).

Understanding of musical tissue from vertical and horizontal, overall and in detail standpoints. The relationship of music content with the musical stylization used. Linking a „musicalized“ text with music material used. In a stage work, the relationship of the action on stage with the music material used. Links to other types of art and philosophy.

Study aims are:

1) Expansion of knowledge of harmony, counterpoint, music form, instrumentation and structure through analyses

2) Understanding of selected music literature from an analytical viewpoint.

3) Adoption of modern analytical procedures appropriate for understanding 20th. and 21st. century works.

Mode of study:

Analysis of compositions through reading scores (form, harmony, counterpoint, structure, instrumentation, and other characteristic elements in a composition), subsequent listening to recorded compositions with scores, comparative analyses, written texts and creation of a graphic analysis. Discussions about the proposed analyses.

Prerequisites and co-requisites:

Knowledge of form, harmony and counterpoint at the conservatory level is required.

Course contents:

At the beginning of the semester the instructor prepares a number of sample analyses for the students in order to broaden their to-date acquired knowledge from the 1st year and explains in detail the issues of the subject.

During the second half of the semester students work on an analysis of one significant compostion from the 20th and 21th centuries assigned with a view to their individual preferences and inclinations. At least once per semester the final form of their comple analysis in the course is presented and developed into a written form with a view to the comments arising from their presentation.

Recommended or required reading:

de Leeuw, Ton. Music of the twentieth century: a study of its elements and structure. Amsterdam : Amsterdam University Press , 2005.

DeLio, Thomas, Saunders Smith, Stuart. Twentieth-Century Music Scores. Englewood Cliffs,

NY: Prentice Hall, 1989.

Janeček, Karel. Tektonika. Praha : Supraphon, 1968.

Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press, 2008.

LaRue, Jan. Guidelines for style analysis : expanded second edition with models for style analysis.

Michigan : Harmonie Park Press, 2011.

Lester, Joel. Analytic approaches to twentieth-century music. New York: W.W. Norton, 1989.

Loudová, Ivana. Moderní notace a její interpretace, Praha : Nakladatelství AMU, 1998.

Nové cesty hudby I. Praha : SHV, 1964.

Nové cesty hudby II. Praha-Bratislava : Supraphon, 1970.

Orchestrace jako proces (kolektiv autorů – katedra skladby HAMU)

Parsch, Arnošt, Piňos, Alois, Šťastný, Jaroslav: Náhoda, princip, systém, řád. Brno: JAMU, 2005.

Simms, Bryan R. Music of the twentieth century : an anthology. Vydáno: New Jersey : Schirmer , 1986

Simms, Bryan R. Music of the twentieth century : style and structure. New Jersey : Schirmer , 1996

Tichý, Vladimír. Úvod do studia hudební kinetiky. Praha : HAMU, 1994.

Notové materiály a nahrávky analyzovaných skladeb.

Assessment methods and criteria:

Credit is awarded based on: activity in class, development and presentation of the semester paper which is submitted at the end of each semester.

In the second semester, in addition, students complete and exam which tests the knowledge acquired in the semester in analyses, adoption of analytical methods, harmonly and forms. These parts are submitted and defended in written form and developed into a graphic analysis for the second semester.

The overall grade is comprised of 60% for activity in class and 40% for the course paper.

Course web page:

Note:

none

Further information:

This course is an elective for all students of this school

Schedule for winter semester 2017/2018:

The schedule has not yet been prepared

Schedule for summer semester 2017/2018:

	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	room 2057 Učebna 2057 (Lichenštejnský palác) BAŽANTOVÁ I. 08:40–10:10 (paralelka 2)room 2026 Učebna 2026 (Lichenštejnský palác) BAŽANTOVÁ I. 12:00–13:30 (paralelka 6)
Wed	room LIC-0006 Reading room in HAMU Library (Lichenštejnský palác) HAVLÍČEK V. 10:20–11:50 (paralelka 3)room 2057 Učebna 2057 (Lichenštejnský palác) MATOUŠEK L. 12:00–13:30 (paralelka 1)room 2017 Učebna 2017 (Lichenštejnský palác) PUDLÁK M. 15:20–16:50 (paralelka 4)room 2017 Učebna 2017 (Lichenštejnský palác) HAVLÍČEK V. 17:00–18:30 (paralelka 5) room 2026 Učebna 2026 (Lichenštejnský palác) HONS M. 12:00–13:30 (paralelka 7)
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Wed	12:00–13:30	Lukáš MATOUŠEK	Učebna 2057 Lichenštejnský palác		paralelka 1
	Tue	08:40–10:10	Ivana BAŽANTOVÁ	Učebna 2057 Lichenštejnský palác		paralelka 2
	Wed	10:20–11:50	Vít HAVLÍČEK	Reading room in HAMU Library Lichenštejnský palác		paralelka 3
	Wed	15:20–16:50	Miroslav PUDLÁK	Učebna 2017 Lichenštejnský palác		paralelka 4
	Wed	17:00–18:30	Vít HAVLÍČEK	Učebna 2017 Lichenštejnský palác		paralelka 5
	Tue	12:00–13:30	Ivana BAŽANTOVÁ	Učebna 2026 Lichenštejnský palác		paralelka 6
	Wed	12:00–13:30	Miloš HONS	Učebna 2026 Lichenštejnský palác		paralelka 7

The subject is a part of the following study plans:

• Harpsichord (Bc) (required subject with the possibility of repeat registration)
• Piano (Bc) (required subject with the possibility of repeat registration)
• Organ (Bc) (required subject with the possibility of repeat registration)
• Harp (Bc) (required subject with the possibility of repeat registration)
• Violin (Bc) (required subject with the possibility of repeat registration)
• Double Bass (Bc) (required subject with the possibility of repeat registration)
• Guitar (Bc) (required subject with the possibility of repeat registration)
• Cello (Bc) (required subject with the possibility of repeat registration)
• Viola (Bc) (required subject with the possibility of repeat registration)
• Bassoon (Bc) (required subject with the possibility of repeat registration)
• Flute (Bc) (required subject with the possibility of repeat registration)
• Oboe (Bc) (required subject with the possibility of repeat registration)
• Clarinet (Bc) (required subject with the possibility of repeat registration)
• French Horn (Bc) (required subject with the possibility of repeat registration)
• Trombone (Bc) (required subject with the possibility of repeat registration)
• Trumpet (Bc) (required subject with the possibility of repeat registration)
• Tuba (Bc) (required subject with the possibility of repeat registration)
• Sound Design (Bc) (required subject with the possibility of repeat registration)
• Percussion Instruments (Bc) (required subject with the possibility of repeat registration)
• Percussion Instruments-Jazz (Bc) (required subject with the possibility of repeat registration)
• Double Bass-Jazz (Bc) (required subject with the possibility of repeat registration)
• Piano-Jazz (Bc) (required subject with the possibility of repeat registration)
• Guitar-Jazz (Bc) (required subject with the possibility of repeat registration)
• Saxophone-Jazz (Bc) (required subject with the possibility of repeat registration)