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Lecturer(s)
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Křupková Lenka, doc. PhDr. Ph.D.
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Course content
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The course examines the principal developmental trends and leading figures of European and American music from the turn of the twentieth century through the interwar avant-garde. Particular attention is devoted to the evolution of musical thought and to the broader aesthetic and cultural contexts of musical life. The aesthetic background of early twentieth-century music. Principal artistic trends. Stylistic movements and "-isms" in the first half of the twentieth century. Between universalism and national identity, traditionalism and the avant-garde. Nineteenth-century antecedents. The gradual dissolution of tonality from Chopin through Wagner, Reger, Richard Strauss, Mussorgsky, and Debussy. 3.-4. Music at the turn of the twentieth century. Richard Strauss, Max Reger, Jean Sibelius, Hans Pfitzner, Claude Debussy, Franz Schreker, and Ferruccio Busoni. Conceptual frameworks: Late Romanticism, the musical Moderne, and its developmental stages (according to the concepts of Carl Dahlhaus and Hermann Danuser). 5.-7. The Second Viennese School. Expressionism, atonality, and the twelve-tone method. Major composers and their works: Arnold Schönberg, Alban Berg, Anton Webern, and their circle. Neofolklorism. The concept of neofolklorism and the distinction between nineteenth-century folk-inspired composition and twentieth-century neofolklorism. Representative composers: Leoš Janáček, Béla Bartók, Zoltán Kodály, George Enescu, and Igor Stravinsky. 9.-10. Neoclassicism. Its origins and development from the late nineteenth century; early neoclassical tendencies in the works of Max Reger, Ferruccio Busoni, and Claude Debussy. Neoclassicism in Paris: (1) the aesthetics of Les Six and (2) the neoclassical works of Igor Stravinsky. The principal representatives of Les Six (with particular emphasis on Arthur Honegger and Darius Milhaud). The life and works of Igor Stravinsky. Russian and Soviet music in the first half of the twentieth century. Alexander Scriabin, Nikolai Myaskovsky, the early works of Sergei Prokofiev, and Dmitri Shostakovich. American music in the first half of the twentieth century. Charles Ives, Henry Cowell, and Milton Babbitt.
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Learning activities and teaching methods
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Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming), Work with Text (with Book, Textbook), Listening
- Attendace
- 25 hours per semester
- Semestral Work
- 12 hours per semester
- Homework for Teaching
- 12 hours per semester
- Preparation for the Exam
- 26 hours per semester
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Learning outcomes
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The aim of the course is to provide an overview of the principal developmental trends and leading composers in European music from the turn of the twentieth century to the interwar period. Particular attention is paid to the evolution of musical thought and to the broader aesthetic and cultural contexts of musical life. The course focuses primarily on the following stylistic movements: late Romanticism and early twentieth-century music, Expressionism, Neoclassicism, and Neofolklorism.
Upon successful completion of the course, students will have acquired an overview of the principal aesthetic and compositional styles, movements, leading composers, and representative works of twentieth-century music. Students will be able to: - independently design dramaturgical concepts for concert programmes, opera productions, and music festivals focusing on twentieth-century music; - select representative repertoire with due regard to its historical, aesthetic, and stylistic context, performance requirements, the intended audience, and the mission of a particular musical institution, and to justify their dramaturgical decisions on scholarly grounds; - to analyse and compare representative works of twentieth-century music with regard to their compositional techniques, stylistic characteristics, and aesthetic concepts.
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Prerequisites
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Approval of the conditional courses: Survey of the History of European Music 1 a 2
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Assessment methods and criteria
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Mark, Written exam
Preparation of a seminar paper on a selected composer of European music in the first half of the twentieth century, including the selection of one representative composition and its musical analysis. The paper must be based on scholarly monographs and studies published in peer-reviewed musicological journals. Topics: Richard Strauss - operas (selection of one opera; genesis, libretto, and musical dramaturgy) Alexander Zemlinsky Karol Szymanowski Jean Sibelius Hans Pfitzner Gustav Holst Ralph Vaughan Williams Alexander Scriabin The Russian avant-garde - Ivan Wyschnegradsky, Nikolai Roslavets, Arthur Lourié The Italian avant-garde - Luigi Russolo Zoltán Kodály and George Enescu Dmitri Shostakovich Sergei Prokofiev Carl Orff Paul Hindemith La Jeune France - with particular emphasis on André Jolivet and the early works of Olivier Messiaen Erik Satie Francis Poulenc Arthur Honegger Darius Milhaud 2. Preparation of a critical review of a concert or opera performance featuring a programme devoted predominantly to music of the first half of the twentieth century. 3. Attendance at a minimum of 75% of seminar sessions. 4. Successful completion of a listening test and a written examination. List of Works for the Listening Test: G. Mahler: Píseň o zemi I. Stravinskij: Svěcení jara A. Schönberg: Smyčcový kvartet č. 2 op. 10, smyčcový sextet Zjasněná noc op. 4, Smyčcový kvartet 0 D dur, Očekávání, Pierrot lunaire op. 21, Klavírní kusy op. 11, Mojžíš a Áron I. Stravinskij: Svěcení jara, Příběh vojáka, Pulcinella A. Zemlinsky: Lyrická symfonie C. Debussy: Smyčcový kvartet, Radostný ostrov F. Schreker: Vzdálený zvuk, Poznamenaní F. Busoni: Elegie, Sonatina seconda L. Janáček: Zápisník zmizelého B. Bartók: Allegro barbaro, Hudba pro smyčce, bicí a celestu, Podivuhodný mandarín, Hrad knížete Modrovouse A. Webern: Pět písní op. 4, Pět kusů op. 10, Šest bagatel pro smyčcový kvartet op. 9, Koncert pro devět nástrojů op. 24 A. Berg: Vojcek, Houslový koncert S. Prokofjev. Symfonie č. 1 D dur "Klasická" op. 25 A. Honneger: Pacifik 231, Rugby, Jana z Arku na hranici Ch. Ives: Nezodpovězená otázka, Tři místa v Nové Anglii (A New England Symphony) Á. Copland: El Salón México E. H. Cowel: Aeolian Harp, The Banshee Var?se: Amériques, Ionisation, Po?me électronique
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Recommended literature
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BEK, JOSEF:. Hudební neoklasicismus, Praha 1982.
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COOK, NICHOLAS - POPLE, ANTHONY (eds.). The Cambridge History of Twentieth Century Music. .
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CRAFT, ROBERT. Igor Stravinskij : deník ze společných cest. Praha 1968.
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Dahlhaus, Carl. (1989). Zwischen Romantik und Moderne. München 1974.. Laaber.
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DANUSER, HERMANN. Die Musik des 20. Jahrhunderts. Neues Handbuch der Musikwissenschaft, Bd. 7. Laaber 1996..
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Dibellius, Ch.:. Moderne Musik I 1945-65. München 1991.
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DRUSKIN, MICHAIL, SEMJONOVIČ. Igor Stravinskij : osobnost, dílo, názory. Praha 1981..
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DRUSKIN, MICHAIL, SEMJONOVIČ. O západoeurópskej hudbe 20. storočia. Bratislava 1976..
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HRADECKÝ, EMIL:. Úvod do studia tonální harmonie, Praha 1960.
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HRČKOVÁ, Naďa. Dějiny hudby. I. ? VI. díl. Praha.
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KOLEKTIV AUTORŮ:. Dějiny české hudební kultury 1890-1945, 2 sv., Praha 1971, 1982.
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Kolektiv autorů. Handbuch der Musik im 20. Jahrhundert, 1-12 Bde. Laaber..
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KOLNEDER, WALTHER. Anton Webern. Einführung in Werk und Stil. Rodenkirchen 1961..
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Křupková, Lenka. Dějiny hudby 20. století I. Olomouc: VUP, 2013..
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MORGAN, ROBERT P.:. Twentieth Century Music. A History of Musical Style in Modern Europe and America. New York-London, W.W. Norton 1992.
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NAVRÁTIL, MILOŠ:. Nástin vývoje evropské hudby 20. století, Ostrava 1993.
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VYSLOUŽIL, JIŘÍ:. Hudobníci 20. storočia, Bratislava 1981.
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