| Course title | Ear Training |
|---|---|
| Course code | KMU/INT |
| Organizational form of instruction | Exercise |
| Level of course | Bachelor |
| Year of study | not specified |
| Semester | Winter |
| Number of ECTS credits | 2 |
| Language of instruction | Czech |
| Status of course | Compulsory |
| Form of instruction | Face-to-face |
| Work placements | This is not an internship |
| Recommended optional programme components | None |
| Lecturer(s) |
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| Course content |
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1. Singing Notes The intonation of a played tone, the repetition of a tone played by the piano, the fixation of pitch idea. The transfer of a tone from a higher/lower pitch to own voice pitch - the transposition. 2. Singing and Ascending Identification of Consonant Melodic Intervals The intonation and record of these ascending intervals: perfect octave, perfect fifth, perfect fourth; major and minor third, major and minor sixth. 3. Singing and Descending Identification of Consonant Melodic Intervals The intonation and record of these descending intervals: perfect octave, perfect fifth, perfect fourth; major and minor third, major and minor sixth. 4. Singing and Identification of Consonant Melodic Intervals Intonation and record of these intervals that sound in consonance: perfect octave, perfect fifth, perfect fourth; major and minor third, major and minor sixth. 5. Singing and Ascending Identification of Dissonant Melodic Intervals The intonation and record of these ascending intervals: major and minor second, major and minor seventh, tritone. 6. Singing and Descending Identification of Dissonant Melodic Intervals The intonation and record of these descending intervals: major and minor second, major and minor seventh, tritone. 7. Singing and Identification of Dissonant Melodic Intervals The intonation and record of these intervals that sound in consonance: major and minor second, major and minor seventh, tritone. 8. Singing and Identification of Consonances/Dissonances beyond the Classical Vocal Range The intonation and record of all intervals mentioned above in different pitches, the transfer of intervals to a classical vocal pitch with the use of transposition. 9. Continuous Dictation The record of all phenomena mentioned above with the help of relative hearing in the framework of the hearing dictation. 10. Intonation and Identification of Major and Minor Triad with Their Inversions The singing and identification of two non-altered seventh chords with their inversions with the use of the interval approach and awareness of their pitch structure. 11. Intonation and Identification of Diminished and Augmented Triads with Their Inversions The singing and identification of two non-altered seventh chords with their inversions with the use of interval approach and awareness of their pitch structure. 12. Intonation within Diatonic Scale The orientation in a major scale, its identification and singing (in an ascending and descending way). Analogically practice in these scales: natural minor, melodic and harmonic; the major and minor pentatonic.
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| Learning activities and teaching methods |
Dialogic Lecture (Discussion, Dialog, Brainstorming)
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| Learning outcomes |
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The class focuses on the fixation of specific tone structures in student´s memory and on harmonic hearing. The important part of this course is singing activity and notation of the sounding music. The aim of the course is the ability of singing and identification of simple diatonic melodies, intervals, scales and chords.
Acquired knowledge: The student identifies concrete melodies, intervals, scales, and chords with the use of the relative hearing. The student intonates concrete tones, short melodies, intervals, scales, and chords in various pitches with the use of transposition. Acquired skills: The student sings concrete melodies purely. Acquired qualifications: The student analyses played music and identify concrete phenomena and formations in it with the use of their hearing. The student transcribes short melodies. |
| Prerequisites |
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unspecified
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| Assessment methods and criteria |
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Oral exam
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| Recommended literature |
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| Study plans that include the course |
| Faculty | Study plan (Version) | Category of Branch/Specialization | Recommended semester | |
|---|---|---|---|---|
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2017) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2024) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2024) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2019) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2019) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2024) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2022) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |
| Faculty: Faculty of Arts | Study plan (Version): Musicology (2019) | Category: Theory and history of arts | 1 | Recommended year of study:1, Recommended semester: Winter |