National Repository of Grey Literature 33 records found  previous11 - 20nextend  jump to record: Search took 0.01 seconds. 
Interaction of classical and rock music in my work
Worek, Michal ; KURZ, Ivan (advisor) ; BARTOŇ, Hanuš (referee)
In my Thesis, I am trying to introduce my concept of interaction of classical and rock music. It is illustrated by concrete compositions how I proceed when composing and which elements are inspired by classical music and which by rock music. I am also citing my inspirational resources from both kinds of music that I am using in my work. The fundamental part of my Thesis is an analysis of my bachelor composition Symphony of Progress which I intend as an example of a balanced interaction of classical and rock music. I consider its ambiguous genre categorization to be one of the proofs. In this case, it is possible to regard it as progressive rock as well as classical music with the use of rock band. Yet every auditor has to judge himself whether I managed to create such a balanced interaction.
Intentional using of overtones in vocal composition
Jelen, Bohuslav ; RIEDLBAUCH, Václav (advisor) ; BARTOŇ, Hanuš (referee)
The thesis maps possibilities of using overtones first from the performer's point of view and then from position of a composer writing vocal music. It is concerned primarily with overtone singing, in which the singer accentuates a concrete pitch which is then distinctly perceived not merely as colour. The other focus of the work is singing on vowels in which the singer accentuates certain "zones of resonance" through altering the sung vowel. These "zones of resonance" consist of several overtones that aren't perceived as pitches, they are perceived as colour.
Impact of new instrumental possibilities for composing thinking
Krejčík, Jan ; BARTOŇ, Hanuš (advisor) ; GUŠTAR, Milan (referee)
The work describes the concept of disklavier Yamaha (player-piano) with electronics, the concept of a sampler with sampled human voice controlled by an Ondéa interface (Martenot waves) by J. Krejčík and the concept of the interactive piano by J.-C. Risset. The examples of pieces composed on the basis of these concepts show, how these concepts have affected their definitive music form. The work undertakes a review of the relationship between a musician's gesture and an instrument interface and its relevance to musical perception and thinking. . The work is complemented with a summary of the historical development of player-piano, and Martenot waves.
Reflextion of technologies of electroacoustic music in vocal and instrumental music
Lukeš, Jiří ; RATAJ, Michal (advisor) ; BARTOŇ, Hanuš (referee)
The present text of the thesis discuss the technology and its impact on the composer's compositional work . Current music scene we called artificial music in principle pervades the world of acoustic sound to the world of electroacoustic sound, which is a major field of researches of art music for several decades. Continuous development and improvement of the technologies in the context of better accessibility in practice means increasing infiltration of technology solutions to the triangle composer - performer - listener . The main focus of the text consists of analytical probes into the current technological solutions and their subsequent contribution to the work of the composer. Technology can play a role of analyse, interpretation, and indirectly also compositional realisation. The knowledge gained in electroacoustic techniques then embedded in the context of acoustic compositional techniques , resulting in many times possibilities for classification of sound through different optics. An important role for the sound still plays a space. The work deals with the meaning of the word space both in terms of architectural design , and the view of possibility to create virtual space. The penultimate chapter gives the reader an insight into the field of generative music through the project Mysticism fragrance. Final text summarization aims primarily to identify and map out possible solutions for composing in the context of the technologies which we can use today .
Decay as a compositional parameter
Hradil, Lukáš ; KURZ, Ivan (advisor) ; BARTOŇ, Hanuš (referee)
The thesis "Decay as a compositional parameter" presents several techniques how can composer works with them acoustically and tectonically. The work includes analysis of compositions in which the decay was used as a compositional parameter.
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.
Introduction to rhythm System of indian classical Music
Reindl, Tomáš ; BARTOŇ, Hanuš (advisor) ; HOŘÍNKA, Slavomír (referee)
This work is focused on explanation of principles, concepts and forms of rhythm system of indian classical music. On this topic there haven´t been written any other autonomous work in czech language before. The work itself is divided into two parts concentrated separatelly on north-indian (hindustani) and south-indian (canatic) system. Both of them are born from same roots but there are remarkable differences too. For both of these traditions there is explanation of different rhytmical forms and their analysis, indian rhythm cycles (tála), their counting systems and its practical usage. For India there is typical way of recitation of rhythms using special sylables (bol). For their comprehension there is necessary to explain basics of indian tabla playing and its traditional repertoir. Autor himself was long term devoted to this musical system which he studied deeply with indian masters. As a tabla player he is playing this music regularly and as composer he is often inspired by these sophisticated rhythm principles .
Vibraphone
Kasal, Jan ; MAZOUROVÁ, Markéta (advisor) ; BARTOŇ, Hanuš (referee)
Particular chapters summarize dividing of idiofons. I wrote about a history of vibraphone, its very beginnings and I continued with the description of vibraphone as a musical instrument. The aim of my bachelor thesis is to find manufacturers of vibraphones all over the world, to list various ways of playing the instruments, types of drumstick and ways how to hold and use them. I tried to make a list of the most important and famous vibraphone performers from the very past until the present, both of the Czech Republic and abroad. The last chapter describes vibraphone compositions of various pieces of music. I got a lot of useful information from my melodic instrument lectorers, especially from vibraphone specialists, performers and students while working on my thesis. Hopefully vibraphone and other drum instruments which are not generally known and respected in the Czech Republic soon will be appreciated as in other countries.
Music in Czech feature film
Dušek, Jan ; BARTOŇ, Hanuš (advisor) ; FILAS, Juraj (referee)
Doctoral thesis Music in Czech feature film (Composing principles of Czech film music composers) is focused on analysis of composing principles in relation to visual part of the movie. Introducing chapter is analyses of beginning of associative film music convention (the music in close relation to visual part) in Czech silent and especially early sound film. The second, the most extensive chapter analyzes selected examples of composing principles of composers in relation to functions of film music which it fulfills.
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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