{"id":779,"date":"2015-10-25T14:11:26","date_gmt":"2015-10-25T13:11:26","guid":{"rendered":"http:\/\/pages.pedf.cuni.cz\/khv\/?page_id=779"},"modified":"2023-06-20T11:36:22","modified_gmt":"2023-06-20T09:36:22","slug":"statni-zaverecna-zkouska","status":"publish","type":"page","link":"https:\/\/pages.pedf.cuni.cz\/khv\/studium\/magisterske-studium\/statni-zaverecna-zkouska\/","title":{"rendered":"St\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e1 zkou\u0161ka"},"content":{"rendered":"

St\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e1 zkou\u0161ka z hudebn\u00ed v\u00fdchovy v r\u00e1mci studia U\u010ditelstv\u00ed pro 1. stupe\u0148 z\u00e1kladn\u00ed \u0161koly<\/strong><\/span><\/h2>\n

!!tzv. star\u00e1 akreditace!! (zapo\u010dat\u00e9 studium do r. 2018)<\/span>
\n<\/span><\/strong><\/p>\n

Obsah st\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e9 zkou\u0161ky:
\nSZZ m\u00e1 komplexn\u00ed charakter: zahrnuje uplatn\u011bn\u00ed poznatk\u016f a dovednost\u00ed ze v\u0161ech discipl\u00edn a vy\u00fas\u0165uje v jejich didaktickou interpretaci.<\/p>\n

A) Pr\u00e1ce s p\u00edsn\u00ed<\/span>
\n<\/strong>1. P\u0159ednes p\u00edsn\u011b (zp\u011bv, n\u00e1strojov\u00fd doprovod, transpozice).
\n2. Anal\u00fdza p\u00edsn\u011b (harmonie, form\u00e1ln\u00ed stavba).
\n3. Taktovac\u00ed problematika (n\u00e1stup, z\u00e1kladn\u00ed taktovac\u00ed sch\u00e9mata, u\u017eit\u00ed d\u011blen\u00e9ho \u010di slou\u010den\u00e9ho gesta, d\u00edl\u010d\u00ed z\u00e1v\u011bry, dynamika, z\u00e1v\u011br).
\n4. Rytmick\u00e1 problematika.
\n5. Intona\u010dn\u00ed probl\u00e9my v p\u00edsni.
\n6. P\u011bveck\u00e9 probl\u00e9my (fr\u00e1zov\u00e1n\u00ed, v\u00fdslovnost, vazba t\u00f3n\u016f apod.).
\n7. Metody n\u00e1cviku p\u00edsn\u011b v\u010detn\u011b p\u0159\u00edpravn\u00fdch cvi\u010den\u00ed.
\n8. Prost\u0159edky motivace a mo\u017enost v\u00fdchovn\u00e9ho vyu\u017eit\u00ed p\u00edsn\u011b.
\n9. Mo\u017enost uplatn\u011bn\u00ed dvoj a v\u00edcehlas\u00e9ho zp\u011bvu.
\n10. Doprovod p\u00edsn\u011b na d\u011btsk\u00e9 hudebn\u00ed n\u00e1stroje.
\n11. Mo\u017enosti pohybov\u00e9ho projevu k p\u00edsni.
\n12. P\u00edse\u0148 jako inspira\u010dn\u00ed zdroj pro d\u011btskou hudebn\u00ed tvo\u0159ivost.<\/p>\n

P\u00edsn\u011b:
\n<\/strong>A\u017e j\u00e1 pojedu p\u0159es ten les \u010c\u00ed to husi\u010dky
\n\u010cty\u0159i kon\u011b jdou
\nD\u00edv\u010da, d\u00edv\u010da, la\u0161tovi\u010dka Je\u0161t\u011b dnes
\nM\u011bla jsem holoubka
\nNa na\u0161em dvo\u0159e
\nOkolo Fr\u00fddku
\nOkolo T\u0159ebon\u011b
\n\u0160t\u011bdrej ve\u010der nastal<\/p>\n

B) Pr\u00e1ce s poslechovou skladbou<\/span><\/strong><\/p>\n

    \n
  1. Historicko genetick\u00e1 anal\u00fdza skladby (v \u0161ir\u0161\u00edm kontextu d\u011bjin hudby).<\/li>\n
  2. Struktur\u00e1ln\u00ed a s\u00e9mantick\u00e1 anal\u00fdza (rozbor skladby z hlediska formy, harmonie, instrumentace a dal\u0161\u00edch vyjad\u0159ovac\u00edch prost\u0159edk\u016f ve vztahu k obsahu skladby; \u017e\u00e1nrov\u00e9, typov\u00e9 a druhov\u00e9 charakteristiky).<\/li>\n
  3. Metodick\u00fd postup p\u0159i pr\u00e1ci s poslechovou skladbou.<\/li>\n
  4. Poslech ve struktu\u0159e vyu\u010dovac\u00ed hodiny, sep\u011bt\u00ed poslechov\u00fdch \u010dinnost\u00ed s ostatn\u00edmi aktivitami (zp\u011bvem, pohybem, instrument\u00e1ln\u00ed hrou, tvo\u0159iv\u00fdmi projevy).<\/li>\n<\/ol>\n

    Poslechov\u00e9 skladby:
    \n<\/strong>a) J. S. Bach: Rondo z Orchestr\u00e1ln\u00ed suity h moll
    \nb) W. A. Mozart: Mal\u00e1 no\u010dn\u00ed hudba ( 1. v\u011bta)
    \nc) Drobn\u00e1 romantick\u00e1 klav\u00edrn\u00ed \u010di houslov\u00e1 skladba (Schubert, Schumann, Chopin, \u010cajkovskij, Smetana aj.) dle vlastn\u00edho v\u00fdb\u011bru s vlastn\u00ed interpretac\u00ed
    \nd) N. A. Rimskij – Korsakov: Let \u010dmel\u00e1ka
    \ne) C. Saint-Sa\u00ebns: Karneval zv\u00ed\u0159at (Slon, Labu\u0165)
    \nf) B. Smetana: Pochod komediant\u016f z opery Prodan\u00e1 nev\u011bsta
    \ng) A. Dvo\u0159\u00e1k: Romantick\u00e9 kusy pro housle a klav\u00edr \u010d. 3 (a Drobnosti pro dvoje housle a violu, \u010d.3)
    \nh) J. Suk: Sousedsk\u00e1
    \ni) L. Jan\u00e1\u010dek: Pilky z La\u0161sk\u00fdch tanc\u016f
    \nj) B. Martin\u016f: Otv\u00edr\u00e1n\u00ed stud\u00e1nek (\u010d\u00e1st kant\u00e1ty)<\/p>\n

    Roz\u0161i\u0159uj\u00edc\u00ed tematick\u00e9 okruhy k jednotliv\u00fdm poslechov\u00fdm skladb\u00e1m:
    \n<\/strong>Ad a) Druhy a formy instrument\u00e1ln\u00ed hudby obdob\u00ed baroka. Charakteristick\u00e9 znaky barokn\u00ed hudby.
    \nAd b) Typick\u00e9 formy instrument\u00e1ln\u00ed hudby obdob\u00ed klasicismu. Charakteristick\u00e9 znaky klasicistick\u00e9 hudby a jej\u00ed hlavn\u00ed p\u0159edstavitel\u00e9.
    \nAd c) Stylov\u00e9 rysy romantick\u00e9 hudby. Typick\u00e9 formy ran\u00e9ho romantismu a jeho hlavn\u00ed p\u0159edstavitel\u00e9.
    \nAd d) Programn\u00ed hudba, jej\u00ed typick\u00e9 formy a v\u00fdrazov\u00e9 prost\u0159edky p\u0159edev\u0161\u00edm v obdob\u00ed novoromantismu.
    \nAd e) P\u0159ehled hudebn\u00edch n\u00e1stroj\u016f symfonick\u00e9ho orchestru.
    \nAd f) Vznik a v\u00fdvoj opery.
    \nAd g) Orchestry a komorn\u00ed instrument\u00e1ln\u00ed soubory.
    \nAd h) Hudba a tanec.
    \nAd i) Folkl\u00f3rn\u00ed inspirace v \u010desk\u00e9 hudb\u011b.
    \nAd j) S\u00f3lov\u00e9 p\u011bveck\u00e9 hlasy a p\u011bveck\u00e9 soubory.<\/p>\n

    \n

    !!tzv. nov\u00e1 akreditace!! (od 2019)<\/span><\/span><\/strong><\/p>\n

    Obsah st\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e9 zkou\u0161ky:
    \nSZZ m\u00e1 komplexn\u00ed charakter: zahrnuje uplatn\u011bn\u00ed poznatk\u016f a dovednost\u00ed ze v\u0161ech discipl\u00edn a vy\u00fas\u0165uje v jejich didaktickou interpretaci.<\/p>\n

    A) Pr\u00e1ce s p\u00edsn\u00ed<\/strong><\/span>
    \n<\/strong> 1. P\u0159ednes p\u00edsn\u011b (zp\u011bv, n\u00e1strojov\u00fd doprovod, transpozice).
    \n2. Anal\u00fdza p\u00edsn\u011b (harmonie, form\u00e1ln\u00ed stavba).
    \n3. Taktovac\u00ed problematika (n\u00e1stup, z\u00e1kladn\u00ed taktovac\u00ed sch\u00e9mata, u\u017eit\u00ed d\u011blen\u00e9ho \u010di slou\u010den\u00e9ho
    \ngesta, d\u00edl\u010d\u00ed z\u00e1v\u011bry, dynamika, z\u00e1v\u011br).
    \n4. Rytmick\u00e1 problematika.
    \n5. Intona\u010dn\u00ed probl\u00e9my v p\u00edsni.
    \n6. P\u011bveck\u00e9 probl\u00e9my (fr\u00e1zov\u00e1n\u00ed, v\u00fdslovnost, vazba t\u00f3n\u016f apod.).
    \n7. Metody n\u00e1cviku p\u00edsn\u011b v\u010detn\u011b p\u0159\u00edpravn\u00fdch cvi\u010den\u00ed.
    \n8. Prost\u0159edky motivace a mo\u017enost v\u00fdchovn\u00e9ho vyu\u017eit\u00ed p\u00edsn\u011b.
    \n9. Mo\u017enost uplatn\u011bn\u00ed dvoj a v\u00edcehlas\u00e9ho zp\u011bvu.
    \n10. Doprovod p\u00edsn\u011b na d\u011btsk\u00e9 hudebn\u00ed n\u00e1stroje.
    \n11. Mo\u017enosti pohybov\u00e9ho projevu k p\u00edsni.
    \n12. P\u00edse\u0148 jako inspira\u010dn\u00ed zdroj pro d\u011btskou hudebn\u00ed tvo\u0159ivost.<\/p>\n

    P\u00edsn\u011b:
    \n<\/strong>A\u017e j\u00e1 pojedu p\u0159es ten les
    \n\u010c\u00ed to husi\u010dky
    \n\u010cty\u0159i kon\u011b jdou
    \nD\u00edv\u010da, d\u00edv\u010da, la\u0161tovi\u010dka
    \nJe\u0161t\u011b dnes
    \nM\u011bla jsem holoubka
    \nNa na\u0161em dvo\u0159e
    \nOkolo Fr\u00fddku
    \nOkolo T\u0159ebon\u011b
    \n\u0160t\u011bdrej ve\u010der nastal<\/p>\n

    B) Pr\u00e1ce s poslechovou skladbou<\/strong><\/span>
    \n<\/strong> 1. Historicko genetick\u00e1 anal\u00fdza skladby (v \u0161ir\u0161\u00edm kontextu d\u011bjin hudby).
    \n2. Struktur\u00e1ln\u00ed a s\u00e9mantick\u00e1 anal\u00fdza (rozbor skladby z hlediska formy, harmonie, instrumentace a dal\u0161\u00edch vyjad\u0159ovac\u00edch prost\u0159edk\u016f ve vztahu k obsahu skladby; \u017e\u00e1nrov\u00e9, typov\u00e9 a druhov\u00e9 charakteristiky).
    \n3. Metodick\u00fd postup p\u0159i pr\u00e1ci s poslechovou skladbou.
    \n4. Poslech ve struktu\u0159e vyu\u010dovac\u00ed hodiny, sep\u011bt\u00ed poslechov\u00fdch \u010dinnost\u00ed s ostatn\u00edmi aktivitami (zp\u011bvem, pohybem, instrument\u00e1ln\u00ed hrou, tvo\u0159iv\u00fdmi projevy).<\/p>\n

    Poslechov\u00e9 skladby:
    \n<\/strong>a) J. S. Bach: Rondo z Orchestr\u00e1ln\u00ed suity h moll
    \nb) W. A. Mozart: Mal\u00e1 no\u010dn\u00ed hudba ( 1. v\u011bta)
    \nc) Drobn\u00e1 romantick\u00e1 klav\u00edrn\u00ed \u010di houslov\u00e1 skladba (Schubert, Schumann, Chopin, \u010cajkovskij, Smetana aj.) dle vlastn\u00edho v\u00fdb\u011bru s vlastn\u00ed interpretac\u00ed
    \nd) N. A. Rimskij \u2013 Korsakov: Let \u010dmel\u00e1ka
    \ne) B. Britten: Simple Symphony (Prost\u00e1 symfonie) \u2013 2. v\u011bta Playful Pizzicato (Hrav\u00e9 pizzicato)
    \nf) B. Smetana: Pochod komediant\u016f z opery Prodan\u00e1 nev\u011bsta
    \ng) C. Saint-Sa\u00ebns: Karneval zv\u00ed\u0159at (Slon, Labu\u0165)
    \nh) J. Suk: Sousedsk\u00e1
    \ni) L. Jan\u00e1\u010dek: Pilky z La\u0161sk\u00fdch tanc\u016f
    \nj) B. Martin\u016f: Otv\u00edr\u00e1n\u00ed stud\u00e1nek (\u010d\u00e1st kant\u00e1ty)<\/p>\n

    Roz\u0161i\u0159uj\u00edc\u00ed tematick\u00e9 okruhy k jednotliv\u00fdm poslechov\u00fdm skladb\u00e1m:
    \n<\/strong>Ad a) Druhy a formy instrument\u00e1ln\u00ed hudby obdob\u00ed baroka. Charakteristick\u00e9 znaky barokn\u00ed hudby.
    \nAd b) Typick\u00e9 formy instrument\u00e1ln\u00ed hudby obdob\u00ed klasicismu. Charakteristick\u00e9 znaky klasicistick\u00e9 hudby a jej\u00ed hlavn\u00ed p\u0159edstavitel\u00e9.
    \nAd c) Stylov\u00e9 rysy romantick\u00e9 hudby. Typick\u00e9 formy ran\u00e9ho romantismu a jeho hlavn\u00ed p\u0159edstavitel\u00e9.
    \nAd d) Programn\u00ed hudba, jej\u00ed typick\u00e9 formy a v\u00fdrazov\u00e9 prost\u0159edky p\u0159edev\u0161\u00edm v obdob\u00ed novoromantismu.
    \nAd e) Stylov\u00e1 rozmanitost hudby 20. stolet\u00ed
    \nAd f) Vznik a v\u00fdvoj opery.
    \nAd g) Orchestr a komorn\u00ed instrument\u00e1ln\u00ed soubory.
    \nAd h) Hudba a tanec.
    \nAd i) Folkl\u00f3rn\u00ed inspirace v \u010desk\u00e9 hudb\u011b.
    \nAd j) S\u00f3lov\u00e9 p\u011bveck\u00e9 hlasy a p\u011bveck\u00e9 soubory.<\/p>\n

    C) Teoretick\u00e9 poznatky<\/span> (v souvislosti s\u00a0analyzovanou p\u00edsn\u00ed)<\/strong><\/p>\n

      \n
    • stavba durov\u00e9 stupnice<\/li>\n
    • kvintov\u00fd a kvartov\u00fd kruh durov\u00fdch stupnic<\/li>\n
    • T5 a jeho obraty<\/li>\n
    • stavba a druhy mollov\u00fdch stupnic<\/li>\n
    • kvintov\u00fd a kvartov\u00fd kruh mollov\u00fdch stupnic<\/li>\n
    • paraleln\u00ed a stejnojmenn\u00e9 stupnice<\/li>\n
    • z\u00e1kladn\u00ed a odvozen\u00e9 intervaly<\/li>\n
    • z\u00e1kladn\u00ed a vedlej\u0161\u00ed harmonick\u00e9 funkce<\/li>\n
    • mimoton\u00e1ln\u00ed dominanty<\/li>\n
    • rytmick\u00e9 zvl\u00e1\u0161tnosti (ligatura, koruna, te\u010dka za notou, synkopa, p\u0159edtakt\u00ed, zm\u011bna metra)<\/li>\n
    • p\u0159ednesov\u00e1 ozna\u010den\u00ed tempa, dynamiky, v\u00fdrazu<\/li>\n
    • z\u00e1konitosti mal\u00fdch p\u00eds\u0148ov\u00fdch forem<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

      St\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e1 zkou\u0161ka z hudebn\u00ed v\u00fdchovy v r\u00e1mci studia U\u010ditelstv\u00ed pro 1. stupe\u0148 z\u00e1kladn\u00ed \u0161koly !!tzv. star\u00e1 akreditace!! (zapo\u010dat\u00e9 studium do r. 2018) Obsah st\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e9 zkou\u0161ky: SZZ m\u00e1 komplexn\u00ed charakter: zahrnuje uplatn\u011bn\u00ed poznatk\u016f a dovednost\u00ed ze v\u0161ech discipl\u00edn a vy\u00fas\u0165uje v jejich didaktickou interpretaci. A) Pr\u00e1ce s p\u00edsn\u00ed 1. P\u0159ednes p\u00edsn\u011b (zp\u011bv, n\u00e1strojov\u00fd doprovod, […]<\/p>\n","protected":false},"author":422,"featured_media":0,"parent":770,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-779","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/pages\/779","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/users\/422"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/comments?post=779"}],"version-history":[{"count":2,"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/pages\/779\/revisions"}],"predecessor-version":[{"id":5442,"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/pages\/779\/revisions\/5442"}],"up":[{"embeddable":true,"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/pages\/770"}],"wp:attachment":[{"href":"https:\/\/pages.pedf.cuni.cz\/khv\/wp-json\/wp\/v2\/media?parent=779"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}