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Lecturer(s)
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Course content
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1. Analysis of a Work - Johann Sebastian Bach: Prelude and Fugue in F Sharp Minor, The Well-Tempered Clavier, Second Part A formal division and tonal plan of the prelude. Type of fugue. An analysis of repercussion and exposition of the second and third theme. The finale of fugue. 2. Analysis of a Work - Wolfgang Amadeus Mozart: Piano Concerto in A Major, KV 488, 1st Movement Formal scheme and tonal relationships. An analysis of double exposition, performance, repeats and code. The combination of form. A soloist-orchestra relationship. The issues of cadences. 3. Analysis of a Work - Ludwig van Beethoven: The Third Symphony in E Flat 'Eroica', First Movement The breakthrough character of the composition in a contemporary context. Beethoven's instrumentation - 'durchbrochene Arbeit'. A formal-tectonic analysis. Monothematicity. Episodes. Second performance and repeat. 4. Analysis of a Work: Antoín Rejcha: Fugue No. 22 Rejcha's new fugue system with the use of Fugue No. 22 as an example. New approaches to modulation and tonal anchoring of fugue. A homophony-polyphony relationship. Contrasts in rhythm, facture, harmony. Tonal relationships in repercussion. Rejcha's harmony - mediants, false connections, Neapolitan seventh chord. 5. Analysis of a Work: Franz Schubert: Gretchen am Spinrade The identification of a type of the song. Formal division. A relationship between the text and musical aspect - facture, rhythm. Harmony as a bearer of music content - the significance of the ninth chord. 6. Analysis of a Work: Hector Berlioz: Symphonie fantastique, Fifth Movement A programme character. Idée fixe. Berlioz's approach to form and tectonics - the meaning of preludes, intermezzos, and code. A formal-tectonic ambivalence of a composition. The novelties of Berlioz's instrumentation and new instrument technique. The principle of melodic deformation and dominance of rhythm over melody. 7. Analysis of a Work: Frédéric Chopin: Nocturne Op. 62 No. 1 The stylistic specifics of Chopin's late work. A formal analysis. The technique of character transformations of themes. Specific ornaments of Chopin's late compositions. Melodics - garlands and horizontal-chromatic progressess. Harmony - harmonic complexes, essential chromatic techniques - the expansion of the variant of false connections. Modality and the flexible diatonic. 8. Analysis of a work: Richard Wagner: Tristan and Isolde, First Act, Fifth Scene An analysis of leitmotifs. The breakthrough character of the composition from the perspective of the development of harmony. 'Tristan chord' and its contexts. Altered and extended chords. Mediants. Modulations. False finales in a widened sense of the word. 9. Analysis of a work: Brahms: Symphony No. 4 E minor, First Movement A formal-tectonic analysis of the composition. Instrumentation specifics. An analysis of exposition, performance, repeat, and code. Tectonic ambivalence. Main characteristics of Brahms' symphonism. 10. Analysis of a Work - Claude Debussy: Nocturne, First Part 'Nuages' New approach of Impressionism to harmony - statics, mixtures, use of seventh and ninth chords. Modality - whole tones and the pentatonic. Instrumentation specifics of Debussy. The use of wind and brass instruments - the use of mutes. Work with bows - division of bows, the use of pizzicatos, plays on the bridge and neck, the mute, flageolets. The significance of the harp. 11. Analysis of a Work: Alexander Scriabin: Désir Op. 57 No. 1 The style of Scriabin's middle creative period. A detailed harmonic analysis of a composition - the structure of chords - Prometheus chord and its predecessors. Functional sequences. Dominant-tonic bi-functionality in the finale of a composition. 12. Anton Webern: Symphony Op. 21, First Movement An analysis from a formal-tectonic perspective. The principles of sonata as well as of variation principle. Processes of fragmentation of music material. Canonical principle. Instrumentation. The principle of punctualism in various compon
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Learning activities and teaching methods
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Lecture, Dialogic Lecture (Discussion, Dialog, Brainstorming)
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Learning outcomes
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Application of various analytical approaches in the 18th - 20th century music. Analysis of musical structures in terms of harmonic, melodic, rhythmical, formal and instrumental aspects. Comparative and style analysis. Style specifics of the composers´ musical language of that period.
The student knows analytical methods used in an analysis of music in the 18th 20th century. Acquired skills: The student can analyse compositions from: - a harmonic perspective, - a metro-rhythmical perspective, - a formal-tectonic perspective, - an instrumentation perspective. Acquired qualifications: The student is able to classify an unknown composition to a corresponding style via an analysis of its music structure.
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Prerequisites
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AHSK 1, 2
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Assessment methods and criteria
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Mark, Written exam, Student performance
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Recommended literature
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APAQ - related to key words.
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Černý, Miroslav K. (2002). Nástin vývoje symfonie od počátku do poloviny 20. století. Olomouc.
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Janeček, K. (1968). Tektonika. Nauka o stavbě skladeb. Praha.
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Jirák, Karel Boleslav. Nauka o hudebních formách. Praha 1985.
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Jiránek, Jaroslav. Eseje o romantismu, Praha 1989.
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Leichtentritt, Hugo. Musikalische Formenlehre, Leipzig 1952.
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Rosen, Charles. (1995). The Romantic Generation. Cambridge (Mass.).
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VOLEK, JAROSLAV:. Struktura a osobnosti hudby, Praha 1988..
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