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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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1. The Aesthetic Background of Early Twentieth-Century Music: Principal Trends. Music at the Turn of the Twentieth Century the search for inspiration beyond the boundaries of European culture, including Eastern cultures and the archaic layers of folk traditions the revival of pre-nineteenth-century musical traditions, particularly those of the Renaissance and the Baroque the abandonment of the established musical language based on tonality and thematic development the avant-garde revolt against "serious" and "traditional" art Richard Strauss, Max Reger, Jean Sibelius, Hans Pfitzner, Claude Debussy, Franz Schreker, and Ferruccio Busoni key concepts: Late Romanticism, musical modernism, and its developmental stages 2. The Second Viennese School: Expressionism, Atonality, and Twelve-Tone Technique Expressionism in the arts (the painters' groups Die Brücke and Der Blaue Reiter) the lives, works, and creative periods of Arnold Schönberg, Alban Berg, Anton Webern, and their circle 3. Neofolklorism defining the concept of neofolklorism differences between nineteenth-century musical nationalism and twentieth-century neofolklorism representative composers of neofolklorism: Béla Bartók, Zoltán Kodály, George Enescu, and Igor Stravinsky 4. Neoclassicism the origins and development of Neoclassicism from the late nineteenth century; 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 Neoclassicism of Igor Stravinsky leading representatives of Les Six, with particular emphasis on Arthur Honegger and Darius Milhaud the life and works of Igor Stravinsky German Neoclassicism 5. Russian and Soviet Music in the First Half of the Twentieth Century Russian musical modernism: Alexander Scriabin the Russian avant-garde: Ivan Wyschnegradsky, Léon Theremin, Ivan Golyshev, Nikolai Roslavets, Alexander Mosolov, and Arthur Lourié leading composers: Nikolai Myaskovsky, the early works of Sergei Prokofiev, and Dmitri Shostakovich
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Learning activities and teaching methods
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Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming), Listening
- Preparation for the Exam
- 35 hours per semester
- Semestral Work
- 30 hours per semester
- Attendace
- 9 hours per semester
- Homework for Teaching
- 76 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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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
Students have already acquired a basic overview of twentieth- and early twenty-first-century music in the course Survey of the History of European Music II, which is normally completed during the first year of study. Prior to the commencement of face-to-face teaching, students are required to study the course material specifically prepared for the combined mode of study: KŘUPKOVÁ, Lenka (2013). Dějiny hudby 20. století 1. Olomouc: Palacký University.
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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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DANUSER, H.:. 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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Dibellius, Ch.:. Moderne Musik II 1965-85. München 1994.
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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, E. Paul Hindemith: svár teorie s praxí. Praha 1974..
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HRČKOVÁ, Naďa. Dějiny hudby. I. ? VI. díl. Praha.
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Kolektiv autorů. Handbuch der Musik im 20. Jahrhundert, 1-12 Bde. Laaber..
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KOLNEDER, W. 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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SCHERLIESS, V. Igor Stravinskij und seine Zeit. Laaber 2002..
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SCHNIERER, MILOSLAV. Svět orchestru 20. století, Praha 1995, 1998, 1999.
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SCHÖNBERG, ARNOLD. Styl a idea. Praha 2004..
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STRAVINSKIJ, I. Hudobná poetika. Kronika mojho života. Bratislava 2002..
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STUCKENSCHMIDT, H. H. Arnold Schönberg. Praha 1971..
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SUTHERLAND, ROGER. New Perspectives in Music, London 1994.
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VYSLOUŽIL, JIŘÍ:. Hudobníci 20. storočia, Bratislava 1981.
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WEID, JEAN-NOËL von der. Die Musik des 20. Jahrhunderts. Frankfurt am Main 2001..
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