VH_315 Introduction to the theory and history of music reception

Faculty of Arts
Autumn 2016
Extent and Intensity
0/2/0. 3 credit(s). Type of Completion: k (colloquium).
Teacher(s)
Mgr. Bc. Miloš Zapletal, Ph.D. (lecturer)
doc. Mgr. Vladimír Maňas, Ph.D. (seminar tutor)
Guaranteed by
doc. Mgr. Vladimír Maňas, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Mgr. Alena Taranzová
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Mon 12:30–14:05 N43
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 30 student(s).
Current registration and enrolment status: enrolled: 0/30, only registered: 0/30, only registered with preference (fields directly associated with the programme): 0/30
fields of study / plans the course is directly associated with
Course objectives
The course provides students with basic insight into theory and history of the reception of music. It focuses on a development of the discipline within musicology as well as within a broader interdisciplinary field, on its main methodological concepts (Eggebrecht, Dahlhaus, Everist), themes and genres.
Syllabus
  • 1) The history of "response" to literary works (Vodička); the formation of Rezeptionsgeschichte within musicology. 2) The reception theories in literary criticism after World War II (The Constance School, S. Fish, post-structuralism). 3) Eggebrecht, Dahlhaus and Everist, and their conceptions. 4) Research of musical reception in the New Musicology, renewed interest in the history of the 19th-century music. 5) Transformations of research on Beethoven reception. 6) Transformations of research on Mozart reception. 7) Transformations of research on Mahler reception. 8) History of musical reception and Czech musicology (Nejedlý, Pospíšil and Ottlová, Fukač, Gabrielová ad.). 9) Issues of Smetana reception. 10) Issues of Dvořák reception. 11) Issues of Janáček reception.
Literature
  • FAIRCLOUGH, Pauline. The ‘Old Shostakovich’: Reception in the British Press. Music & Letters 2007, roč. 88, č. 2, s. 266–296.
  • KUNZE, Stefan (ed.). Ludwig van Beethoven: Die Werke im Spiegel seiner Zeit. Laaber: Laaber, 1987.
  • NOTLEY, Margaret. Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism. New York: Oxford University Press, 2007.
  • LESSEM, Alan. Bridging the Gap: Contexts for the Reception of Haydn and Bach. International Review of the Aesthetics and Sociology of Music 1988, roč. 19, č. 2, s. 137–148.
  • DAHLHAUS, Carl. Grundlagen der Musikgeschichte [kap. „Probleme der Rezeptionsgeschichte“]. In C. Dahlhaus. Gesammelte Schriften, Band 1: Allgemeine Theorie der Musik I. Laaber: Laaber, 2000 [1977], s. 142–155.
  • FULCHER, Jane F. The Composer as Intellectual: Music and Ideology in France 1914–1940. Oxford: Oxford University Press, 2005.
  • HOWARD, Luke. The Popular Reception of Samuel Barber’s Adagio for Strings. American Music 2007, roč. 25, č. 1, s. 50–80.
  • BURNHAM, Scott. Beethoven Hero. Princeton: Princeton University Press, 1995.
  • OTTLOVÁ, Marta – Milan POSPÍŠIL. Bedřich Smetana a jeho doba: vybrané studie. Praha: Nakladatelství Lidové noviny, 1997.
  • VODIČKA, Felix. Dějiny ohlasu literárních děl. In Havránek, Bohuslav – Jan Mukařovský (edd.). Čtení o jazyce a poesii. Praha, 1942, s. 371–384.
  • FJELDSØE, Michael. Different Images: A Case Study on Bartók Reception in Denmark. Studia Musicologica Academiae Scientiarum Hungaricae 2006, roč. 47, č. 3–4, s. 453–465.
  • SENNER, Wayne M. – Robin WALLACE – William MEREDITH (edd.). The Critical Reception of Beethoven’s Compositions by his German Contemporaries. Vol. 1,2 [/4]. Nebraska: Univeristy of Nebraska Press, 1999, 2001.
  • BECKER, Heinz (ed.). Beiträge zur Geschichte der Musikkritik. Regensburg: Gustav Bosse, 1965.
  • BURNHAM, Scott. Criticism, Faith, and the Idee: A. B. Marx’s Early Reception of Beethoven. 19th-Century Music 1990, roč. 13, č. 3, s. 183–192.
  • EGGEBRECHT, Hans Heinrich. Zur Geschichte der Beethoven-Rezeption: Beethoven 1970. Mainz: Akademie der Wissenschaften und der Literatur, 1972.
  • HINRICHSEN, Hans-Joachim. Musikalische Interpretation Hans von Büllow. Stuttgart: Steiner, 1999.
  • EVERIST, Mark. Reception Theories, Canonic Discourses, and Musical Value. In Cook, Nicholas – Mark Everist (edd.). Rethinking Music. Oxford: Oxford University Press, 2010 [1999], s. 378–402.
  • BOTSTEIN, Leon. Music in History: The Perils of Method in Reception History. The Musical Quarterly 2006, roč. 89, č. 1, s. 1–16.
  • KNITTEL, K. M. Wagner, Deafness, and the Reception of Beethoven’s Late Style. Journal of the American Musicological Society 1998, roč. 51, č. 1, s. 49–82.
Teaching methods
Lecture, collective reading, class discussion.
Assessment methods
80% attendance, active participation in discussions.
Language of instruction
Czech
Further Comments
Study Materials
The course is taught only once.
  • Enrolment Statistics (recent)
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