Compositions Analysis 3

Display Schedule

Subject guarantor

Vít HAVLÍČEK

Name of lecturer(s)

Ivana BAŽANTOVÁ, Vít HAVLÍČEK, Miloš HONS, Martin HYBLER, Lukáš MATOUŠEK

Learning outcomes of the course unit

The course aim is a comprehensive view of a music text in connection with knowledge aquired in the first study-year (Composition Analysis 1 & 2:108RS1 and 2). Comprehension of music material from vertical and horizontal viewpoints, in detail and as a whole. The relationship of music content to the music stylization used. Connecting a text set to music using music material. In a stage work, the relationship of stage events to the music material used. Linking other types of art and philosophy.

The study aims are:

1. Expanding student knowledge in harmony, counterpoint, music forms, instrumentation and structures through analysis
2. Knowledge of selected music literature from an analytical viewpoint
3. Learning new era analysis procedures appropriate for learning the works of the 20th and 21st centuries.

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. Discussions about the proposed analyses.

Prerequisites and co-requisites

Knowledge of forms, harmony, 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.

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 as a presentation in the first semester.

In the second semester, aside from the presentations in the course an written analysis is submitted.

In the second semester, in addition, students complete and exam which test the knowledge acquired in the course of the semester on analyses and adoption of analytical methods. These parts are submitted and defended in developed written form for the second semester.

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

Note

none

Schedule for winter semester 2018/2019:

• Week view
• List

Schedule for summer semester 2018/2019:

The schedule has not yet been prepared

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)