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Quartets without harmonic instrument in present-day jazz
Kyncl, Jan ; HONZÁK, Jaromír (advisor) ; SOUKUP, Luboš (referee)
The main goal of this thesis is to describe the history and significance of one of the less usual band settings that has appeared within the tradition of jazz music – two wind instruments, double bass and drums. In addition to the historic overview of this particular band setting, it‘s main protagonists will be listed as well as their major works and achievements. Emphasis will be put on the contemporary jazz scene, both European and American. In the practical part of this thesis transcriptions of selected works will be presented and analyzed.
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NEGLECTED SOUL-JAZZ GUITARISTS OF THE 1960s
Šmoldas, Libor ; HONZÁK, Jaromír (advisor) ; DORŮŽKA, David (referee)
This work deals with a musical genre that borders jazz, gospel and blues, so-called soul-jazz, which peaked in popularity in the 1960s in the USA and as a predominantly afro-american art form went almost unnoticed by the mainstream critics and journalists. The aim of the analysis is to specify it’s characteristics, introduce it’s representatives out of guitarists and describe their musical careers and style. The output of the thesis will be enrichment of my own style in both improvisation and composition.
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TRADITION AND INNOVATION IN JAZZ MUSIC
Bártová, Kristýna ; KŘIŠŤAN, Vít (advisor) ; HONZÁK, Jaromír (referee)
This master’s thesis deals in the development of jazz in terms of traditional and new and innovative influences especially from the perspective of a professional jazz musician acting on the Czech jazz scene. So mapping the general influence of traditions and innovations in the world and deeply deals with the influence of the Czech jazz musicians across generations.
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Philly Joes Jones as a leader on records between the years 1958 - 1968
Dundrová, Lenka ; SOUKUP, Luboš (advisor) ; HONZÁK, Jaromír (referee)
The topic of the thesis is about a personal life and musical career of a great drummer Philly Joe Jones, who has become a crucial person of the jazz era. The goal of this thesis is to understand his drumming language and to find out how successful he was as a band leader. First part of the thesis describes his personal life and music development. At the second part of thesis we can find the list of recordings that he made as a leader between the years 1958 – 1968. There are also listed particular transcriptions of his drum solos, which were analysed. As a result of the thesis is that the recordings of him as a leader are not significant, but his drumming language is unique. Rudimental drumming and licks of Philly Joe Jones and licks are still alive nowadays.
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Composition Elements in the Work of Pat Metheny
Beneš, Petr ; HONZÁK, Jaromír (advisor) ; DORŮŽKA, David (referee)
This work deals with the analysis of compositions by Pat Metheny from his early work. The aim of the analysis is to specify individual compositional elements, to describe their role in specific compositions and to evaluate how they interact and complement each other. The output of the thesis will be an analysis of the composition intention itself supplemented by the acquired experience.
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WORK OF ERWIN SCHULHOFF INFLUENCED BY JAZZ
Kabrna, Ondřej ; RŮŽIČKA, Karel (advisor) ; HONZÁK, Jaromír (referee)
The masters thesis focuses on the work of Erwin Schulhoff influenced by jazz and contemporary popular music, describing all of his works since 1914 until his death. The author studied all of the available work, including autographs. He presents results of his research with plenty of sheet music illustration, interpreting each composition in the context of Czech and international music. In the last chapters he introduces his own transformations of Schullhofs composition.
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Double Bass As A Solo Instrument In Jazz
Tichý, Petr ; HONZÁK, Jaromír (advisor) ; Novotný, Marek (referee)
This thesis maps the historical development of double-bass playing, and the expression techniques employed therein, from accompaniment in early jazz bands to solo performances. Among others, the thesis describes the circumstances of and the reasons behind the creation of the first double-bass solo album, which was recorded by Barre Phillips in December 1968.
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