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Jan Novak (1921-1984): Chapters from His Creative Years
Nachmilnerová, Eva ; Gabrielová, Jarmila (advisor) ; Havlík, Jaromír (referee) ; Štědroň, Miloš (referee)
Jan Novák (1921-1984): Chapters from His Creative Years OBJECTIVES: This work has set a goal to cover and summarize current results of research into existing sources and to complete them with yet unstudied data related to the personality and work of Jan Novák. In the light of new sources and materials, it aims at putting forward a more plastic view on the story of composer's life; at characterizing fundamental features of this type of composer; and it points out a range of crucial issues for further research in this field. The main part of this work therefore comprises of a biographical study based i.a. on yet unpublished sources from personal archives of Jan Novák's family and on interviews with family members and friends recorded by the author. METHODOLOGY: I have mostly used the method of oral history in order to verify and complete the missing information concerning the life and work of the composer. The testimony of living family members and other composer's contemporaries represents the major source of information for certain periods of time, and provides a solid basis which, being compared with available correspondence and further sources, made it possible to complete, verify and amend existing data of composer's life. RESULTS: Testimony of composer's contemporaries was most helpful to shed...
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The Byzantine approach to the liturgical text setting
Christou, Marios ; Riedlbauch, Václav (advisor) ; Filas, Juraj (referee) ; Štědroň, Miloš (referee)
This thesis deals with the byzantine approach to the liturgical text setting. Since byzantine music is not well known in the Czech Republic, the first chapters of this thesis explain the rudiments of theory and notation of byzantine music while the last and main chapter deals with the issue of the byzantine "text setting technique". In order to demonstrate the principles of the byzantine composing technique the main chapter is conceived as a kind of "workshop" where these principles are applied to the Czech language, and where the procedure of text setting is described step by step. The main aspiration of this study is to prove that the byzantine approach is a very sophisticated and interesting one as well as to show that this musical language is universal and can be utilized for text setting in almost any other language than Greek.
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Leoš Janáček: Sinfonietta
Blahunek, Václav ; Šebesta, Josef (advisor) ; Šebesta, Josef (advisor) ; Štědroň, Miloš (referee)
Genesis and interpretative problems of the Sinfonietta by Leoš Janáček. This graduation these in the first part describes last creative period of Leoš Janáček in relation to Sinfonietta. View is sighted particulary on military environment and Janáček´s contacts and inspirations by military music. The second part solves some interpretative problems of Janáček´s Sinfonietta, especially tempo, sound proportional,rhythmical and aesthetical diffuculties. The latest chapter comparisons twelve different recordings of the Sinfonietta performed by Czech and abroad orchestras and describes interpretative conceptions of twelve outstanding condurctors.
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INSTRUMENTATION ? IDEAL SOUND AND EXPRESSION
Štědroň, Miloš ; Riedlbauch, Václav (advisor) ; Bartoň, Hanuš (referee) ; Parsch, Arnošt (referee)
In my thesis, I was trying to deal with the aspects of instrumentation that
primarily concern not only the sound concepts, but that are also influenced by
other, extra-musical aspects. Given the breadth of the topic, I focused only on
analyses of the twentieth century´s music, on instrumentation methods of
Leoš Janácek and Bohuslav Martinu in particular. Analyses of two concrete
works by Alfred Schnittke and Arvo Pärt are in my opinion a typical example of
stratification of musical thinking in the second half of the twentieth century. A
twentieth or twenty-first century composer does not think about
instrumentation in a purely musical context any more, he can create a whole
scale of meanings and hidden messages. In this I see the mission and sense of
contemporary music. That is not to stagnate in the area of satisfying of ideal
sound concepts, but to reflect not only the impulses from other branches of
art, but also social and historical contexts.
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