National Repository of Grey Literature 22 records found  1 - 10nextend  jump to record: Search took 0.00 seconds. 
Parallelism as a principle of multi-voice leading
Kliment, Henrich ; FILAS, Juraj (advisor) ; GEMROT, Jiří (referee)
The text focuses on parallel motion of voices as a type of multi-voice leading, as an element or a factor in process of composition in the context of music theory, and also in the context of different periods of history of music from prehistory to the present with the main consideration for the use in my own latest work. The first part of the text deals with the concept of melodic and harmonic parallel voice leading regarding to its sound quality and functional meaning in a musical piece. The second part is a chronological interpretation of the conventions of using the principle of parallel voice leading in the process of composition or interpretation in terms of individual periods of history of music.
Organicity as an Aesthetic Concept in Contemporary Music
Dřízal, Jan ; BARTOŇ, Hanuš (advisor) ; FILAS, Juraj (referee)
Diploma thesis Organicity as an aesthetic concept in contemporary music tries through interdisciplinary comparison to point out possible manifestations of organics in a musical context. By organicity is meant the holistic understanding of a music work as an „organism“, in which the whole is to the part as the part is to the whole and which is manifested primarily by its sound shape. The text describes how the concrete musical parameters relate to the organic form and how they model it. The author first defines basic organic characteristics such as homogeneity, causality, non-geometry, processuality, or continuity of the form and then demonstrates them on numerous note examples. It does not create a new theory but seeks to point out the universality of this phenomenon both from the historical point of view and in its current forms. Attention is paid to various types of musical perception, time experience and perception of sound form. The terms „sound object“ and „sound gesture“ integrate into a new context and proposes a new typology of musical processes. The work briefly touches on the origin of thinking about organicity in philosophical and aesthetic discourse.
Integration of jazz elements in my compositional work
Horká, Kateřina ; FILAS, Juraj (advisor) ; Tóth, Miroslav (referee)
Abstract This Bachelor thesis is focused on the integration of jazz elements in my classical music compositions. For the whole 20th century, the combination of jazz and classical music was a subject of discussions in a musical society. From the origins of jazz, some compositions were combined and subsequently influenced by classical music. This approach still remains in a certain group of composers to this day. The first movement is represented by the composers of the early 20th century, including French Impressionists e.g. Maurice Ravel, Les Six - Darius Milhaud, Francis Poulenc and Arthur Honneger. We should not forget to mention Igor Stravinskij. In our land, these trends can be found in works of Bohuslav Martinů, Erwin Schulhof and especially in works of Jaroslav Ježek. The second movement of these trends began in the 60s and it was called "The Third stream". In our country it is represented by Alexej Fried, Pavel Blatný, Milan Svoboda and others. The idea of synthesis of jazz and classical music is still current to this day, many composers consider it their compositional basis. Over the course of the 20th century there was a great style diversification in a popular music and so over the time the synthesis of other styles with classical music appeared. It is a very broad topic. That is the reason why I would like to focus on my compositional work influenced by jazz.
THE CZECH CREATION OF CONCERT MELODRAMA IN THE SECOND HALF OF THE 20th CENTURY AND AT THE BEGINNING OF THE 21st CENURY
Kux, Martin ; FILAS, Juraj (advisor) ; KURZ, Ivan (referee)
This Bachelor thesis named “Czech Creation of Concert Melodrama in the Second Half of the 20th Century and Beginning of the 21st Century with Analysis of 4 Compositions” deals with the view of Czech melodrama as a specific genre combining spoken word with musical component that has historically had an important tradition in the Czech Republic. The thesis primarily focuses on the chronological development and various component concepts in our country in the past 50 years. In order to demonstrate the topic, four melodramas by authors from different generations are presented in the paper. Through their analysis, the author describes what directions the style and development of the Czech concert melodrama has been heading.
Using concertante principle in works by Alfred Schnittke
Fila, Jan ; RIEDLBAUCH, Václav (advisor) ; FILAS, Juraj (referee)
Concertante principle is one of the compositional technic that goes along in the western music for more than four hundred years. Basis for this historic techniques are used until now. For researcher arises the question: Exists the concertante principle in the newer musical literature, or merely is a relic of the distant past? In the last few decades has been one of the strongest personalities, who dealt with the using of the concertante principle, the Russian-German composer Alfred Schnittke, who wrote several dozen concertante works. In music history after the Second World War, we can hardly find any another person that would be dealt with at length this genre. The aim of this thesis is to examine in detail, how the composer treated with this technique if used only historically given compositional techniques, or innovatively replaced. As a method of investigation was chosen analysis of large amounts of scores, on which there is evidence Schnittke use and targeted using of concertante principle.
Double Approach to the solo Voice in Works of Luciano Berio
Švarcová, Terezie ; FILAS, Juraj (advisor) ; KOPELENT, Marek (referee)
The vocal part of the artificial music progressed throughout the 20th century with an extensive development. Along side with other composition styles, most commonly used was the human voice while applying the technique of bel canto, especially in the second half of the 20th century where there is an exessive vocal projection based on the extended techniques. In this work I am focusing on the composition approach for the vocal solo in the Luciano Berio work, whom applies both of these styles within his piece. Luciano Berio approaches these styles seperately or combines them into one. Here he focuses on use of both priniciples individually and on specific pieces "Folk Songs and Sequenza III per voce femminile " I demonstrate this alternative capturing with the cooperation of work with the human vocals. I present their characteristical symbols, and in simplistic voice I analyze and compare them.
Vocal symphonies by Vladimír Sommer and Miloslav Kabeláč
Trojan, Pavel ; RIEDLBAUCH, Václav (advisor) ; FILAS, Juraj (referee)
This master thesis focuses on genre of vocal symphony ("choral symphony"). In the first chapter general definition of genre is aimed to be determined in both historical and semantical aspects. Special attention is paid to the role of vocal symphony in symphonic legacy of particular composers. Focus of the work lies in music analysis of two major compositions of two Czech composers of the second half of the 20th century. Vocal Symphony by Vladimír Sommer and Eight symphony ?Antiphons? by Miloslav Kabeláč. Scope of research is to evaluate use of vocal elements in the symphonic form and how it affects intended musical statement.
The Merging of contemporary classical Music nad Jazz in the selected Examples
Sýkora, Tomáš ; FILAS, Juraj (advisor) ; BARTOŇ, Hanuš (referee)
Merging of classical music and jazz is an integral part of the history of the 20th century music. Both genres had a significant influence on composers of the past and have also significantly influenced contemporary composers. Within this process the terms like third stream, crossover and fusion arose. The aim of this paper is to demonstrate different approaches of work where the merging of contemporary classical music and jazz is obvious and also to bring in the own compositional approach inspired by this topic.
Traditional and contemporary music of Kazakhstan in a second half of 20th century an example for contemporary
Khinkov Aitbayeva, Nargiza ; FILAS, Juraj (advisor) ; KURZ, Ivan (referee)
These graduation work talk about the traditional and contemporary music of Kazakhstan, especially in the second half of the 20the century. The aim was not talk only about the folk composers and, on the other hand, academic composers, but also to put out those composers, who have connections between these two different styles. Here I put the names of the composers chronologically based on their life periods and divided on the base of the several musicologists. I add my list of composers, which is enlarged to the list of the composers from the new generation. Additionally, I pay strong attention to all these selected composers and show the music examples of the chosen composers. Especially, I analyze compositions of those composers, who have a different musical style, different music language and different way of composing.
Spatial composition
Fila, Jan ; RIEDLBAUCH, Václav (advisor) ; FILAS, Juraj (referee)
This bachelor thesis describes the spatial compositions with a special focus on music scores created since the end of the Second World War to the presence. The aim of thesis is to highlight the artistic value of these works and the particularities of the issue in their performance.

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