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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. Foundations and Methods of Musical Analysis 2. Contrapuntal Form and Transformations of the Fugue Principle Johann Sebastian Bach: Fugue in F-sharp Minor, BWV 883; Anton Reicha: Fugue No. 22, A-C. 3. Sonata-Rondo Form and Its Variants Wolfgang Amadeus Mozart: Piano Sonata in B-flat Major, K. 333, third movement. 4. "Bar-by-Bar" Analysis and the Ambiguity of Formal Interpretation Ludwig van Beethoven: Piano Sonata in D Major, Op. 10, No. 3, second movement. 5. Haydnesque Monothematicism and Motivic Working in a Sonata-Form Movement Joseph Haydn: Piano Trio in C Major, Hob. XV:27, first movement. 6. Thematic Affinity and the Tectonic Structure of a Romantic Sonata-Form Movement Bedřich Smetana: Piano Trio in G Minor, Op. 15, first movement. 7. Developing Variation and the Revision of Musical Form Johannes Brahms: Piano Trio in B Major, Op. 8, first movement - original version. 8. Developing Variation and the Revision of Musical Form Johannes Brahms: Piano Trio in B Major, Op. 8, first movement - revised version. 9. The Integration of a Multi-Movement Cycle into a Single-Movement FormVítězslav Novák: Piano Trio No. 2 in D Minor, Op. 27, Quasi una ballata. 10. Transformations of Motivic Working in Early Twentieth-Century Music Leoš Janáček: Piano Sonata 1.X.1905. 11. The Organization of Pitch Material in an Impressionist Composition Claude Debussy: L'isle joyeuse. 12. Multi-Layered Musical Structure in Twentieth-Century Music Charles Ives: The Unanswered Question.
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Learning activities and teaching methods
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Dialogic Lecture (Discussion, Dialog, Brainstorming)
- Homework for Teaching
- 30 hours per semester
- Attendace
- 9 hours per semester
- Preparation for the Course Credit
- 11 hours per semester
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Learning outcomes
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The course introduces students to the fundamental methods of musical analysis, applied primarily to chamber and piano music from the eighteenth to the early twentieth century. It aims to develop students' ability to independently examine the structure of a musical work, identify its formal, tectonic, thematic, harmonic, contrapuntal, rhythmic, and textural organization, and understand the interrelationships among the individual components of its musical structure.
Students will be able to devise a suitable analytic approach to a song from a particular period and of a particular music style. Students will be capable of individual analysis of a song from the period of Classicism until the 20th Century. They will also be able to link their knowledge of history and theory of music with their individual listening competence.
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Prerequisites
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Students should be well acquainted with basic theoretical terminology on music and with history of music.
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Assessment methods and criteria
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Seminar Work
Sufficient and active participation in class (max. of 3 absences), students are expected to analyze a selected piece of music (pieces of music) within a homework and in a test.
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Recommended literature
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Bent, I. D., Pople, A. Analysis. In: The New Grove Dictionary of Music and Musicians..
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Cook, N. A Guide to Musical Analysis. Oxford 1994..
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Fukač, J., Holubová, E. (1997). Analýza. In: Fukač, J., Vysloužil, J. (eds): Slovník české hudební kultury. Praha.
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Hons Miloš. (2011). Hudební analýza. Praha.
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Janeček, Karel:. Hudební formy, Praha 1955..
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JANEČEK, KAREL:. Tektonika. Nauka o stavbě skladeb. Praha 1968.
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Janeček. Smetanova tvorba komorní. Praha. 1984.
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Křupková, Lenka. (2006). Studie ze života a díla Vítězslava Nováka. Olomouc.
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