National Repository of Grey Literature 11 records found  1 - 10next  jump to record: Search took 0.00 seconds. 
Potoček, Jakub ; BARTOŇ, Hanuš (advisor) ; KOPELENT, Marek (referee)
The basic principle of musical cryptograms is a transformation of words into a musical material. There are many composers, throughout musical history, who used cryptograms mainly in a form of musical motives or themes. My pesonal concept of musical cryptograms differs from the historical one in many ways. The main goal of this thesis is to create an insight into my own methods of composition, which are quite closely related to cryptograms. The core content of this thesis is preceded by a brief overview of various means of creating musical cryptograms. In this overview I concentrated on a time period approximately from the 18th century up to the present days. Examples of my own particular forms of use of cryptograms are also a consistuent part of the thesis.
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.
Representatives of New music in Prague at the turn of the fifties and sixties of the 20th century
Rybář, Jan ; KOPELENT, Marek (advisor) ; KURZ, Ivan (referee)
This doctor's thesis called Representatives of New music in Prague at the turn of the fifties and sixties of the 20th century focuses on selected Czech composers, instrumentalists as well as chamber ensembles that composed and performed contemporary music and promoted Czech and foreign compositions of the period avant-garde, or so called New music. The publication is dedicated mainly to three composers: Marek Kopelent, Zbyněk Vostřák and Jan Klusák. The book is divided into 8 chapters. New music and its innovations after World War II, Social situation and musical milieu in Czechoslovakia in the 50th, The Beginning of New music in Prague and in selected specialized ensembles, Media reflections in Czech journals and newspapers, three analyses of Czech compositions from the sixties ? orchestral work Contemplations by Marek Kopelent, String quartet no. 2 by Jan Klusák and Affects by Zbyněk Vostřák and final chapter is called The Legacy of sixtieth. There are also two more appendixes ? the interviews with Jan Klusák and Marek Kopelent ? major living representatives of Czech musical avant-garde.
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.
Percussion in the 21. century
Andrlová, Klára ; Mikolášek, Daniel (advisor) ; Havlík, Jaromír (referee) ; Kopelent, Marek (referee)
In my bachelor thesis I would like to concentrate on several compositions dedicated to drum set-ups. This musical area do not have proper audience and are rather less common by this time in The Czech Republic, but I think that pieces written for drum set-ups may have huge audience and be performed in huge auditoriums as well as pieces written for any other ?common? instrument. For supporting my claims I chose two composers ? american composer David Lang and a dutch one - Michel Van der Aa. In my thesis I will try to analyze several pieces by this authors and also to point out some particular problems which can occur during the rehearsing. For there are no czech materials concerning this topic, I will draw mainly from my own experiences with those pieces and also from experiences of my colleagues ? students and professors from music schools.
The history, development and use of percussion instruments
Sokolov, Oleg ; Vlasák, Vladimír (advisor) ; Havlík, Jaromír (referee) ; Kopelent, Marek (referee)
The bachelorś thesis focuses on history, development and use of percussive musical instruments not only in the classical, but also in the popular music. I dedicate few chapters specially to the kettle drums and to the ethnic instruments. The thesis is complemented with a review of foreign terms and illustrations.
Hierarchical Aspect of Tectonical Structure in Contemporary Music
Pták, Jan ; Kopelent, Marek (advisor) ; Kučera, Václav (referee) ; Haase, Miloš (referee)
This elaborate brings a view on the tektonical structure of selected peaces from the second half of 20th century, especialy in aspect of hierarchy in it. It deals with relationship between tectonical structure of hole musical peace and its detail.
Percussion Performance Practice with the emphasis on a symphony orchestra
Koubek, Tomáš ; Mikolášek, Daniel (advisor) ; Kopelent, Marek (referee)
The intention of my work is to describe usage of the most common percussion instruments in different musical bodies, that is in various types of orchestras, ensembles, bands and music groups existing in Europe, as well as to mention some common and less usual techniques of playing these instruments. Furthermore I would like to outline basic rules of percussion notation in its diversity. I will give the most significant examples of composition for percussion ensembles or examples of pieces using a large number of percussion instruments. This work does not focus on solo works for percussion. The detailed study of this topic will be left to other authors of bachelor dissertations. I will be happy if this text finds its way into practical usage. This material could serve for example leaders of musical ensembles or orchestras as well as music composers as a sort of technical manual or "advisory" on how to use percussion instruments in different types of orchestras and ensembles. At the present time the percussion instruments are being used increasingly therefore any accessible literature provides enrichment and becomes a source of knowledge for a lot of active and passive musicians. When describing individual musical bodies I followed the ensuing scheme: a) size (total number of players) b) repertoire and genre orientation c) the most common number of percussionists d) used percussion instruments e) role of individual percussion instruments f) technique and unusual ways of playing g) notation h) examples of notations or compositions
Non - standard concert principles in contemporary music composition
Holáňová, Marie ; Riedlbauch, Václav (advisor) ; Kopelent, Marek (referee) ; Bartoň, Hanuš (referee)
This work objective is to inspect various composition aspects influencing the relationship between a solist and a music body using music examples of concerts written during approximately last 30 years.
The influence of microinterval music on my music language
Stojilkovič, Marjan ; Kurz, Ivan (advisor) ; Kučera, Václav (advisor) ; Kopelent, Marek (referee) ; Bláha, Ivo (referee)
Ljuba Marič (1909-2003) first studied composition with Josip Slavenski at the Belgrade Music School (1925-1929), and continued her studies with Josef Suk at the Master School of Prague Conservatory (1929-1932) where she took Alois Hába´s course in quarter-tone music at the same instution from 1936 to 1937. The works she composed during the 1930´s were characterised by a radical will to break ties with traditional, mainly romantic music, so che chose to be influenced by the free atonal, predodecaphonic works of Arnold Schoenberg.

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