{"id":479,"date":"2018-07-28T18:21:58","date_gmt":"2018-07-28T17:21:58","guid":{"rendered":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/?page_id=479"},"modified":"2018-07-28T18:21:58","modified_gmt":"2018-07-28T17:21:58","slug":"ucitelstvi-hudebni-vychovy-pro-zakladni-skoly-stredni-skoly-a-zakladni-umelecke-skoly","status":"publish","type":"page","link":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/okruhy-k-szz\/ucitelstvi-hudebni-vychovy-pro-zakladni-skoly-stredni-skoly-a-zakladni-umelecke-skoly\/","title":{"rendered":"U\u010ditelstv\u00ed hudebn\u00ed v\u00fdchovy pro z\u00e1kladn\u00ed \u0161koly, st\u0159edn\u00ed \u0161koly a z\u00e1kladn\u00ed um\u011bleck\u00e9 \u0161koly"},"content":{"rendered":"

(dvouoborov\u00e9 navazuj\u00edc\u00ed studium)<\/p>\n

 <\/p>\n

KHV\/QZN1 Historicko-teoretick\u00e1 anal\u00fdza skladby<\/h4>\n
    \n
  1. Chor\u00e1ln\u00ed melodie s latinsk\u00fdm textem, \u010desk\u00e1 duchovn\u00ed p\u00edse\u0148 – interpretace notov\u00fdch uk\u00e1zek, duchovn\u00ed hudba st\u0159edov\u011bku, jej\u00ed funkce a\u00a0formy
    \nnoty<\/b><\/a><\/li>\n
  2. St\u0159edov\u011bk\u00e1 jednohlas\u00e1 nebo v\u00edcehlas\u00e1 p\u00edse\u0148 – interpretace notov\u00fdch uk\u00e1zek, sv\u011btsk\u00e1 hudba ve st\u0159edov\u011bku, jej\u00ed spole\u010densk\u00e9 funkce, odraz forem ryt\u00ed\u0159sk\u00e9ho \u017eivota, hudebn\u00ed formy, \u017e\u00e1nry
    \n    noty<\/b><\/a><\/li>\n
  3. V\u00edcehlas\u00e1 p\u00edse\u0148 s melodi\u00ed v tenoru\/moteto – interpretace notov\u00fdch uk\u00e1zek, hudba renesance a reformace v\u00a015. a\u00a016. stolet\u00ed, hudebn\u00ed formy a\u00a0druhy, jejich funkce
    \n    noty<\/b><\/a><\/li>\n
  4. \u00c1rie – anal\u00fdza skladby, opera a dal\u0161\u00ed \u00fatvary vok\u00e1ln\u00ed hudby baroka a klasicismu, recitativ, \u00e1rie, funkce
    \n    noty<\/b><\/a><\/li>\n
  5. V\u011bta houslov\u00e9ho koncertu\/concerta grossa, nap\u0159. Vivaldi, Corelli, Bach, H\u00e4ndel – anal\u00fdza skladby, orchestr\u00e1ln\u00ed hudba pozdn\u00edho baroka
    \n    noty (1)<\/b><\/a>\u00a0\u00a0\u00a0noty (2)<\/b><\/a><\/li>\n
  6. J. S. Bach: fuga g moll z Temperovan\u00e9ho klav\u00edru – anal\u00fdza skladby, hudba baroka pro klav\u00edr
    \n    noty<\/b><\/a><\/li>\n
  7. W. A. Mozart\/L. v. Beethoven: son\u00e1tov\u00e1 nebo rondov\u00e1 v\u011bta – anal\u00fdza skladby, formy instrument\u00e1ln\u00ed hudby klasicismu
    \n    noty (1)<\/b><\/a>\u00a0\u00a0\u00a0noty (2)<\/b><\/a><\/li>\n
  8. A. Dvo\u0159\u00e1k: Humoreska\/B. Smetana: Polka – anal\u00fdza skladby, charakteristick\u00e9 nebo tane\u010dn\u00ed \u017e\u00e1nry v\u00a0hudb\u011b 19. stolet\u00ed, form\u00e1ln\u00ed a\u00a0funk\u010dn\u00ed str\u00e1nka
    \n    noty (1)<\/b><\/a>\u00a0\u00a0\u00a0noty (2)<\/b><\/a>\u00a0\u00a0\u00a0noty (3)<\/b><\/a><\/li>\n
  9. F. Schubert: Lindenbaum – anal\u00fdza skladby, romantick\u00e1 p\u00edse\u0148, typy, auto\u0159i
    \n    noty<\/b><\/a><\/li>\n
  10. B. Smetana: Vltava, partitura – anal\u00fdza skladby, programn\u00ed symfonick\u00e1 hudba 19. stolet\u00ed, formy, typy hudebn\u00edho vyj\u00e1d\u0159en\u00ed mimohudebn\u00edho obsahu
    \n    noty<\/b><\/a><\/li>\n
  11. B. Bart\u00f3k: Rumunsk\u00e9 tance, Sz. 56, V, VI – anal\u00fdza skladby, neofolklorismus, modalita v\u00a0evropsk\u00e9 hudb\u011b 20. stolet\u00ed, v\u00fdznamn\u00ed p\u0159edstavitel\u00e9 nebo \u0161koly, jejich inspira\u010dn\u00ed zdroje a\u00a0hlavn\u00ed rysy hudebn\u00edho jazyka
    \n    noty (1)<\/b><\/a>\u00a0\u00a0\u00a0noty (2)<\/b><\/a><\/li>\n
  12. W. Lutoslawski: Smute\u010dn\u00ed hudba, 1. v\u011bta, Prolog – anal\u00fdza skladby, dodekafonie a serialismus v\u00a0hudb\u011b 20. stolet\u00ed, zp\u016fsoby uplatn\u011bn\u00ed \u0159adov\u00e9ho principu, obecn\u00e9 a\u00a0individu\u00e1ln\u00ed rysy u\u00a0hlavn\u00edch p\u0159edstavitel\u016f
    \n    noty<\/b><\/a><\/li>\n<\/ol>\n

    Ot\u00e1zky jsou toto\u017en\u00e9 s uveden\u00fdmi tematick\u00fdmi okruhy.<\/p>\n

     <\/p>\n

    QZN2 Didaktika hudebn\u00ed v\u00fdchovy<\/h4>\n

    Tematick\u00e9 okruhy<\/p>\n

      \n
    1. Hudebn\u011b v\u00fdchovn\u00fd proces ve \u0161kole, jeho \u010dinitel\u00e9, osobnost u\u010ditele Hv a jeho \u017e\u00e1douc\u00ed p\u0159edpoklady k\u00a0u\u010ditelsk\u00e9 pr\u00e1ci, \u010dinnostn\u00ed charakter HV, uplat\u0148ovan\u00e9 druhy hudebn\u00edch \u010dinnost\u00ed na Z\u0160 a\u00a0jejich vztahy.
      \nUplatn\u011bn\u00ed didaktick\u00fdch z\u00e1sad v hudebn\u00ed v\u00fdchov\u011b: z\u00e1sada aktivity \u017e\u00e1k\u016f, z\u00e1sada n\u00e1zornosti a\u00a0p\u0159\u00edklady jej\u00edho respektov\u00e1n\u00ed, z\u00e1sady p\u0159\u00edstupnosti a\u00a0p\u0159im\u011b\u0159enosti, soustavnosti a\u00a0posloupnosti, zam\u011b\u0159enost na rozv\u00edjen\u00ed hudebn\u00edch schopnost\u00ed a\u00a0dovednost\u00ed a\u00a0osvojov\u00e1n\u00ed hudebn\u00edch poznatk\u016f.<\/li>\n
    2. Podstata Orffova Schulwerku, jeho z\u00e1kladn\u00ed rysy, hudebn\u00ed tvo\u0159ivost a improvizace, vyu\u017eit\u00ed element\u00e1rn\u00edch hudebn\u00edch n\u00e1stroj\u016f na 2.\u00a0stupni Z\u0160, zp\u016fsoby vytv\u00e1\u0159en\u00ed n\u00e1strojov\u00fdch doprovod\u016f k\u00a0nacvi\u010dovan\u00fdm p\u00edsn\u00edm.
      \nPohyb spojen\u00fd s hudbou jako jedna z hudebn\u00edch \u010dinnost\u00ed v r\u00e1mci v\u0161eobecn\u00e9 hudebn\u00ed v\u00fdchovy, smysl a\u00a0c\u00edl t\u00e9to \u010dinnosti p\u0159edev\u0161\u00edm v\u00a0rozv\u00edjen\u00ed rytmick\u00e9ho c\u00edt\u011bn\u00ed, hra na t\u011blo, pohyb jako variace a\u00a0kombinace ch\u016fze a\u00a0tane\u010dn\u00edch krok\u016f se z\u0159etelem k\u00a0vn\u00edman\u00e9 hudb\u011b.<\/li>\n
    3. Pl\u00e1nov\u00e1n\u00ed hudebn\u011b v\u00fdchovn\u00e9 pr\u00e1ce, uplatn\u011bn\u00ed tematick\u00e9ho principu, struktura hodiny hudebn\u00ed v\u00fdchovy, p\u0159\u00edprava u\u010ditele, \u010dinitel\u00e9 ovliv\u0148uj\u00edc\u00ed p\u0159\u00edpravu (anal\u00fdza u\u010diva, metodick\u00e1 p\u0159\u00edprava, u\u010ditelsk\u00e9 dovednosti). Efektivita hodiny.<\/li>\n
    4. Probl\u00e9m nezp\u011bvnosti \u010d\u00e1sti \u017e\u00e1k\u016f, p\u0159\u00ed\u010diny a projevy nezp\u011bvnosti, d\u016fsledky v kolektivn\u00edm zp\u011bvu \u017e\u00e1k\u016f, didaktick\u00e9 prost\u0159edky n\u00e1pravy – individu\u00e1ln\u00ed p\u0159\u00edstup, volba hlasov\u00e9 polohy, sluchov\u00e1 zam\u011b\u0159enost, zrakov\u00fd n\u00e1zor, n\u00e1vyky kultivovan\u00e9ho tvo\u0159en\u00ed t\u00f3nu.<\/li>\n
    5. P\u011bveck\u00e1 \u010dinnost a jej\u00ed postaven\u00ed ve vztahu k ostatn\u00edm hudebn\u00edm \u010dinnostem, problematika v\u00fdb\u011bru materi\u00e1lu se z\u0159eteli vzd\u011bl\u00e1vac\u00edmi a estetick\u00fdmi, n\u00e1stin postupu p\u0159i n\u00e1cviku p\u00edsn\u011b ve spojen\u00ed s\u00a0p\u0159\u00edpravn\u00fdmi cvi\u010den\u00edmi hlasov\u00fdmi, rytmick\u00fdmi a\u00a0intona\u010dn\u00edmi.
      \nHlasov\u00e1 v\u00fdchova jako slo\u017eka p\u011bveck\u00e9 \u010dinnosti, jej\u00ed c\u00edl, zam\u011b\u0159en\u00ed, metody rozv\u00edjen\u00ed a kultivace p\u011bveck\u00e9ho projevu v\u00a0pr\u016fpravn\u00fdch cvi\u010den\u00edch dechov\u00fdch, fona\u010dn\u00edch a\u00a0artikula\u010dn\u00edch.<\/li>\n
    6. Vok\u00e1ln\u00ed intonace jako slo\u017eka p\u011bveck\u00e9 \u010dinnosti, jej\u00ed smysl v rozv\u00edjen\u00ed hudebn\u00edch p\u0159edstav, podstata ton\u00e1ln\u00edch metod, osv\u011btlen\u00ed princip\u016f Danielovy metody op\u011brn\u00fdch p\u00edsn\u00ed, vztah mezi imitac\u00ed a\u00a0intonac\u00ed p\u0159i n\u00e1cviku melodie osvojovan\u00e9 p\u00edsn\u011b.<\/li>\n
    7. Improvizace jako hudebn\u00ed \u010dinnost sm\u011b\u0159uj\u00edc\u00ed ke konstruk\u010dn\u00ed str\u00e1nce hudby. „Hra na ozv\u011bnu“ jako z\u00e1cvi\u010dn\u00e1 improviza\u010dn\u00ed hra. „Hra na ot\u00e1zku a\u00a0odpov\u011b\u010f“ jako improvizace polov\u011bty. Principy podobnosti a\u00a0kontrastu.<\/li>\n
    8. Pom\u016fcky a didaktick\u00e1 technika pro hudebn\u00ed v\u00fdchovu, vybaven\u00ed u\u010debny pro hudebn\u00ed v\u00fdchovu, pom\u016fcky pro jednotliv\u00e9 druhy hudebn\u00edch \u010dinnost\u00ed, audiovizu\u00e1ln\u00ed technika, u\u010ditel\u016fv n\u00e1stroj.<\/li>\n
    9. Pr\u00e1ce s konkr\u00e9tn\u00ed p\u00edsn\u00ed:
      \np\u011bveck\u00e9 p\u0159edveden\u00ed p\u00edsn\u011b (i vedlej\u0161\u00ed hlasy), n\u00e1strojov\u00fd doprovod, dirigov\u00e1n\u00ed (taktov\u00e1n\u00ed), anal\u00fdza p\u00edsn\u011b z\u00a0aspekt\u016f muzikologick\u00fdch a\u00a0didaktick\u00fdch (motiva\u010dn\u00ed prost\u0159edky, pr\u00e1ce s\u00a0textem, p\u0159\u00edpravn\u00e1 cvi\u010den\u00ed, volba metody pro n\u00e1cvik melodie, vyu\u017eit\u00ed pom\u016fcek, vztahy k\u00a0dal\u0161\u00edm hudebn\u00edm \u010dinnostem, zapojen\u00ed do struktury hodiny).<\/li>\n<\/ol>\n

      Ot\u00e1zky jsou toto\u017en\u00e9 s uveden\u00fdmi tematick\u00fdmi okruhy.<\/p>\n

      Student u SZZ z didaktiky HV p\u0159edlo\u017e\u00ed sv\u00e9 portfolio.<\/p>\n

       <\/p>\n

      Zkou\u0161ky maj\u00ed \u00fastn\u00ed formu. Ot\u00e1zky jsou zad\u00e1v\u00e1ny losov\u00e1n\u00edm. Studentovi jsou na p\u0159\u00edpravu k\u00a0dispozici oraz\u00edtkovan\u00e9 pap\u00edry, kter\u00e9 mohou slou\u017eit jako podklad p\u0159i \u00fastn\u00ed zkou\u0161ce. \u010cas ur\u010den\u00fd na p\u0159\u00edpravu ka\u017ed\u00e9ho z\u00a0p\u0159edm\u011bt\u016f je p\u0159ibli\u017en\u011b 30 minut. Pro zd\u00e1rn\u00e9 ukon\u010den\u00ed SZZ mus\u00ed student splnit oba p\u0159edm\u011bty. Nezdar ve kter\u00e9mkoli z\u00a0nich neguje celkov\u00fd v\u00fdsledek SZZ. S\u00a0v\u00fdsledky jsou studenti sezn\u00e1meni po skon\u010den\u00ed SZZ t\u00fd\u017e den. P\u0159i ne\u00fasp\u011b\u0161n\u00e9m pokusu bezprost\u0159edn\u011b po skon\u010den\u00ed ka\u017ed\u00e9ho z\u00a0p\u0159edm\u011bt\u016f. O\u00a0celkov\u00e9m hodnocen\u00ed a\u00a0v\u00fdsledku rozhoduje sou\u010det kladn\u00fdch i\u00a0z\u00e1porn\u00fdch hlas\u016f jednotliv\u00fdch \u010dlen\u016f zku\u0161ebn\u00ed komise na neve\u0159ejn\u00e9m zased\u00e1n\u00ed. U\u00a0SZZ se hodnot\u00ed v\u011bcn\u00e1 spr\u00e1vnost a\u00a0plynulost projevu. Zkou\u0161ka ka\u017ed\u00e9ho p\u0159edm\u011btu m\u016f\u017ee trvat maxim\u00e1ln\u011b 30 minut. Student je povinen se p\u0159ihl\u00e1sit k\u00a0ob\u011bma p\u0159edm\u011bt\u016fm sou\u010dasn\u011b.<\/p>\n","protected":false},"excerpt":{"rendered":"

      (dvouoborov\u00e9 navazuj\u00edc\u00ed studium)   KHV\/QZN1 Historicko-teoretick\u00e1 anal\u00fdza skladby Chor\u00e1ln\u00ed melodie s latinsk\u00fdm textem, \u010desk\u00e1 duchovn\u00ed p\u00edse\u0148 – interpretace notov\u00fdch uk\u00e1zek,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":438,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-479","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/pages\/479","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/comments?post=479"}],"version-history":[{"count":0,"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/pages\/479\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/pages\/438"}],"wp:attachment":[{"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/media?parent=479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}