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Consonance and Dissonance in the Context of My and Other Composers' Works
Klusák, Martin ; LOUDOVÁ, Ivana (advisor) ; KURZ, Ivan (referee)
The first three chapters cover historical and contemporary theories of consonance and dissonance that directly influenced my work. This thesis focuses on music-theory and acoustic interpretations of the two terms, but contains also two non-conform points of view on the subject.
In the last - fourth - chapter, using own reflections and analyses of own compositions, I describe main relationships of the terms consonance and dissonance with my works.
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The Use of Accordion in orchestral Scores
Lukeš, Jiří ; LOUDOVÁ, Ivana (advisor) ; RIEDLBAUCH, Václav (referee)
The orchestral sound is evolving over several centuries. An important influence on this fact has undoubtedly creating new musical instruments and their gradual integration into the orchestra. Concert accordion as we know it today, is about 100 years old instrument. In recent years we have witnessed to growing interest by composers, which increasingly integrate accordion to orchestra. Personally, I colaborated with few composers in preparation and execution of some of these pieces. This fact in conjunction with the lack of literature inspirate me to write this work. I deliberately chose two compositions, in which the accordion plays an important role, although not intended to form a solo concert, but just as an organic part of the orchestral staff. The main purpose was to show its unique technical and tonal possibilities on the specific parts of selected pieces focused to sound. The results of analysis of both compositions clearly show the greatest benefit of accordion possibilities in tone creation, variability associated with wide tone range and a rich variety in sound transformation of techniques of other instruments of the orchestra. Final thesis leaves somewhat open ending, it should motivate composers to think about the technical capabilities of an accordion, which is primarily tempered instrument, however in some ways can produce non tempered sound. This fact can produce new quality and also new structural conce
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Positive thinking and it´s influence on the structure of one´s own compositions
Aslamas, Anton ; KURZ, Ivan (advisor) ; LOUDOVÁ, Ivana (referee)
The goal of my work is not only to chart the interesting intersection of music, philosophy and psychology, but also to help other artists (music composers in particular) who might read this work in the future by directing them to this less described and glossed fields of cognition. In the work I proceed from general notions to specific ones. At first positive psychology is described, followed by its affect on a human being in general. The focus point of the work is an exposition on particular impact of positive attitude and thinking on the creation of my compositions. The work is concluded by examples of presumable positive thinking in composition of music from history (mainly L. van Beethoven, O. Messiaen, S. Gubajdulina).
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Open Compositional Creation. Unbounded Possibilities of Inspiration with the Help of Computer
Kadeřábek, Jiří ; BARTOŇ, Hanuš (advisor) ; LOUDOVÁ, Ivana (referee)
In the present paper, the author shares his experience in the field of compositional creation which integrates a whole range of stylistic and genre material, as well as essentially non-musical material. The topic of the so called open compositional creation is restricted by the use of computer within the compositional process and/or at the performance of the piece. The author´s creative starting points and experience are supported by an outline of the historical and cultural context, a short characteristic of computer technologies and specific examples from the author´s own work as well as the work of other composers.
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The Czech Music inspired by V. Holan
Dvořáček, Jakub ; Loudová, Ivana (advisor) ; Kopelent, Marek (referee) ; Bláha, Ivo (referee)
This work sets out to follow the trace of Vladimír Holan´s poetry in Czech music. It first draws attention to Holan´s life and social context of the time, then it describes Holan´s poetic language, form of verse and other poetic means. Special interest is focused on Holan´s relationship to music, and those pictures in his poetry, that are inspired by music.
Next part consideres and analyses 49 compositions, that set to music Holan´s poetry in a form of spoken or sang text as well as pieces purely instrumental, which use Holan´s poetry only as a motto or other inspiration. Compositions are divided into several groups according to the time of their origin, and then analysed. Those composers are emphasized, who used Holan´s poetry as an inspiration several times (M.Kopelent, L.Matoušek). The work also mentiones Holan´s influence on composers of nonartificial field.
Final part analyses the author´s own compositions, especially his graduate composition Hudba zašantročená do samomluvy.
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Russian music of 20th century and its influence on the czech production
Aslamas, Anton ; Kurz, Ivan (advisor) ; Loudová, Ivana (referee) ; Gemrot, Jiří (referee)
The goal of my work is above all to point out the mutual interconnection
of two Slavonic cultures in the field of music. I laid out this goal
also for the reason that in the last twenty years these bonds appear to
have fallen into oblivion or not to be much in the center of interest of
the public. The first chapter surveys the social situation in Russia of
the last century and its impact on music. Further I consecrated each
chapter to one of five great artists of the era ? I. Stravinsky, S.
Prokofiev, D. Shostakovich, S. Gubaidulina and A. Schnittke. I also
mentioned other composers whose artistic significance is ratter smaller
than the significance of the great artists referred to above. Then
follows the most important part of my work ? analysis of concrete
examples of influence of Russian music on the Czech music. I
particularly devoted myself to S. Havelka's Symphony No. 1 by, V.
Sommer's Vocal symphony, L. Fišer's /Sonata for piano/ No. 4; by O.
Kvěch's Metamorphosis for violin solo and cord quintet and finally V.
Tichý's Sonata for piano on the theme of Sergei Prokofiev.
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Percussion instruments in chosen works of Igor Stravinsky
Koubek, Tomáš ; Mikolášek, Daniel (advisor) ; Loudová, Ivana (referee) ; Matoušek, Vlastislav (referee)
In my dissertation I deal with the role of percussion instruments in several most important works of the big Russian composer of the 20th century, Igor Stravinsky. The basis of this work is analyses describing and assessing the role of percussion instruments in these compositions. Each chapter is devoted to one analysed work. The structure of the chapters is unchangeable, an introduction gives some information about the given composition, under which conditions it originated, what the composer's aim was, who commissioned or initiated it, when it was premiered etc. The main part of each chapter is the analysis of the piece focused on technical demands of individual parts of percussion instruments, their playing in unison an combination with other instruments.
Igor Stravinsky's highly complicated musical vocabulary using rapid changes of irregular juxtaposed bars and largely involving percussion instruments made me choose his works. They are, in my opinion, the most important and often performed and, regarding a percussionist, they are considered to be the most challenging for mastering the orchestral playing.
In the appendix to this master's dissertation I present examples of notation tangibly illustrating described difficulties and situations.
I hope this dissertation to be an assed for several reasons:
1) It will become a useful source of information for professional
percussionists as well as for conductors performing Stravinsky's works.
2) It may serve as a source of information for future musicologists or
arrangers.
3) The additional advantage of this work is the fact that it is written by a
practising percussionist since deep knowledge of percussion instruments technique enables to analyse Igor Stravinsky's compositions also with regard to interpretation demands on the player.
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Microtonal Harmony As Derived From Complex, Inharmonic Sound Spectra
Nicholas, Michael ; Loudová, Ivana (advisor) ; Bartoň, Hanuš (referee) ; Pudlák, Miroslav (referee)
This paper presents my recent research into a new source of microtonal pitch materials, namely woodwind multiphonics. By incorporating the intervallic and sometimes also dynamic relationships of these complex, inharmonic sound spectra, I have "doscovered" an exciting new source for instrumental timbres and harmonies. After a brief history of microtonality, as used in Western Art Music, and of some of its major advocates, I will define some important terms and then distinguish my research from that with which other contemporary composers are currentlyengaged. Following this introduction I will explain what led me to my choice of this topic and demonstrate how I went about my research, presenting and explaining the results of this research and how I used these results while composing my Bachelor´s composition, Inferno per orchestra (2005-6). Finaly, I will suggest some possible ideals for further exploration.
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