{"id":498,"date":"2018-07-28T18:23:32","date_gmt":"2018-07-28T17:23:32","guid":{"rendered":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/?page_id=498"},"modified":"2018-07-28T18:23:46","modified_gmt":"2018-07-28T17:23:46","slug":"ucitelstvi-hry-na-nastroj-nebo-zpevu-pro-stredni-skoly-a-zakladni-umelecke-skoly","status":"publish","type":"page","link":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/okruhy-k-szz\/ucitelstvi-hry-na-nastroj-nebo-zpevu-pro-stredni-skoly-a-zakladni-umelecke-skoly\/","title":{"rendered":"U\u010ditelstv\u00ed hry na n\u00e1stroj nebo zp\u011bvu pro st\u0159edn\u00ed \u0161koly a z\u00e1kladn\u00ed um\u011bleck\u00e9 \u0161koly"},"content":{"rendered":"

\u00a0(jednooborov\u00e9 navazuj\u00edc\u00ed studium)<\/h4>\n

P\u0159edm\u011bty st\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e9 zkou\u0161ky jsou:<\/p>\n

KHV\/QZNS1 Historicko-teoretick\u00e1 anal\u00fdza skladby
\nKHV\/QZNS2 Didaktika hudebn\u00ed v\u00fdchovy
\nKHV\/QZNS3 Absolventsk\u00fd koncert v rozsahu recitalu
\nKHV\/QZNS4 Metodika hlavn\u00edho oboru<\/b><\/p><\/blockquote>\n

 <\/p>\n

KHV\/QZNS1 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

    QZNS2 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 p\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 c\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\u00a0estetick\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 portf\u00f3lio.<\/p>\n

       <\/p>\n

      QZNS3 Absolventsk\u00fd koncert v rozsahu recit\u00e1lu<\/h4>\n

       <\/p>\n

      QZNS4 Metodika hlavn\u00edho oboru<\/h4>\n

      Tematick\u00e9 okruhy<\/p>\n

      Hlavn\u00ed obor hra na klav\u00edr<\/b><\/p>\n

        \n
      1. P\u0159edpoklady ke h\u0159e na n\u00e1stroj. Hlediska v\u00fdb\u011bru \u017e\u00e1k\u016f. Charakteristika \u00favodn\u00ed vyu\u010dovac\u00ed lekce. Sezn\u00e1men\u00ed s \u017e\u00e1kem.<\/li>\n
      2. Metodick\u00e9 principy v obdob\u00ed p\u0159ed vznikem psychofyzick\u00fdch \u0161kol, psychofyzick\u00e9 metody 2.\u00a0pol. 19. stolet\u00ed, vztah k\u00a0Th.\u00a0Leschetizk\u00e9mu.<\/li>\n
      3. \u010cesk\u00e1 klav\u00edrn\u00ed metodika v minul\u00fdch stolet\u00edch a \u0161koly hry na klav\u00edr u\u017e\u00edvan\u00e9 v minulosti. Vil\u00e9m Kurz – charakteristika pedagogick\u00fdch princip\u016f. Technick\u00e9 z\u00e1klady klav\u00edrn\u00ed hry.<\/li>\n
      4. Pr\u00e1ce s nadan\u00fdmi d\u011btmi p\u0159ed\u0161koln\u00edho v\u011bku. Klav\u00edrn\u00ed \u0161koli\u010dka autorek Jan\u017eurov\u00e9 a Borov\u00e9, \u010desk\u00e9 i\u00a0zahrani\u010dn\u00ed klav\u00edrn\u00ed \u0161koly pro za\u010d\u00e1te\u010dn\u00edky pou\u017e\u00edvan\u00e9 na ZU\u0160, jejich p\u0159ednosti a\u00a0z\u00e1pory<\/li>\n
      5. Polyfonn\u00ed a technick\u00e1 instruktivn\u00ed literatura v rozvoji \u017e\u00e1k\u016f na 1. a 2. stupni ZU\u0160<\/li>\n
      6. P\u0159ednesov\u00e1 \u010desk\u00e1 a sv\u011btov\u00e1 literatura na I. a II. stupni ZU\u0160. P\u0159ehled a charakteristika.<\/li>\n
      7. Stavba vyu\u010dovac\u00ed lekce, optim\u00e1ln\u00ed postup p\u0159i n\u00e1cviku skladby, metodika samostatn\u00e9 p\u0159\u00edpravy \u017e\u00e1ka, kontinuita s\u00a0prac\u00ed ve \u0161kole.<\/li>\n
      8. D\u00edl\u010d\u00ed metodick\u00e9 probl\u00e9my v\u00fduky klav\u00edrn\u00ed hry. Nap\u0159. po\u010d\u00edt\u00e1n\u00ed, pr\u00e1ce s hudebn\u00ed fr\u00e1z\u00ed, prstoklady, \u010dten\u00ed z\u00a0listu, princip n\u00e1zorn\u00e9ho p\u0159edveden\u00ed, hra zvl\u00e1\u0161\u0165. Pedalizace.<\/li>\n
      9. P\u0159\u00edprava pedagoga na vyu\u010dov\u00e1n\u00ed, osnovy v\u00fduky klav\u00edrn\u00ed hry na ZU\u0160. Jejich tvo\u0159iv\u00e1 aplikace. \u0160VP.<\/li>\n
      10. V\u00fdznamn\u00ed \u010de\u0161t\u00ed klav\u00edrn\u00ed pedagogov\u00e9 minulosti i sou\u010dasnosti.<\/li>\n<\/ol>\n

         <\/p>\n

        V p\u0159\u00edpad\u011b KHV\/QZNS1, KHV\/QZNS2 a KHV\/QZNS4 jde o \u00fastn\u00ed zkou\u0161ky. 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. Na po\u0159ad\u00ed zkou\u0161ek, p\u0159\u00edpadn\u011b se zahrnut\u00edm obhajoby diplomov\u00e9 pr\u00e1ce, je-li k\u00a0n\u00ed student p\u0159ihl\u00e1\u0161en, se komise dohodne p\u0159ed zapo\u010det\u00edm SZZ. Pro zd\u00e1rn\u00e9 ukon\u010den\u00ed SZZ mus\u00ed student splnit v\u0161echny \u010dty\u0159i 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\u00a0\u00fastn\u00ed SZZ 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 ke v\u0161em p\u0159edm\u011bt\u016fm krom\u011b absolventsk\u00e9ho koncertu p\u0159ihl\u00e1sit sou\u010dasn\u011b.<\/p>\n","protected":false},"excerpt":{"rendered":"

        \u00a0(jednooborov\u00e9 navazuj\u00edc\u00ed studium) P\u0159edm\u011bty st\u00e1tn\u00ed z\u00e1v\u011bre\u010dn\u00e9 zkou\u0161ky jsou: KHV\/QZNS1 Historicko-teoretick\u00e1 anal\u00fdza skladby KHV\/QZNS2 Didaktika hudebn\u00ed v\u00fdchovy KHV\/QZNS3 Absolventsk\u00fd koncert v…<\/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-498","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/pages\/498","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=498"}],"version-history":[{"count":0,"href":"https:\/\/old.pf.jcu.cz\/structure\/departments\/khv\/wp-json\/wp\/v2\/pages\/498\/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=498"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}