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AUDIOVISUAL COUNTERPOINT
Ženíšek, Martin ; Bláha, Ivo (advisor) ; Skall, Vladimír (referee)
The aim of the thesis is to organize and assess the various applications of
audiovisual counterpoint, an intentional discrepancy between the displayed scene
and the sound. The thesis focuses on audiovisual counterpoint from the
perspective of its function, psychological principles and dramatic and esthetic
effects in various genres of audiovisual production.
The first part of the thesis addresses the general theory of audiovisual
counterpoint and summarizes the various types of sounds in audiovisual
production.
The second part pursues the manifold combinations of audio and video
ranging from a mild discordance to complete contradiction. The various types of
audiovisual counterpoint are illustrated with sample film scenes.
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Aspects of building the sound design of film sound track
Titěra, David ; Bláha, Ivo (advisor) ; Neubauer, Petr (referee)
This diploma theoretical work is designed as an insight into the dramaturgical process of building film sound track. The first part deals with transmission of audiovisual information to the audience and its way of perception. The second part deals with specific phases of dramaturgical work. It focuses primarily on postproduction, particularly on issues of creative sound editing. Numerous audiovisual demonstrations are attached.
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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.
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Film Sound Meaning Beyond The Film Image
Čadek, Roman ; Bláha, Ivo (advisor) ; Holubec, Michal (referee)
The purpose of this thesis is to analyze and sort out the creative processes using a film audio component as a means significantly enriching the information provided by the film video component. The aim is both theoretically and in specific cases showing the possibility of audio components to deliver the new quality into the audiovisual work. Quality that is not and cannot be contained within video component itself. Forms of audiovisual counterpoint are described in terms of the means of expression (music, sounds, speech) and in terms of potential impact (work with time, space, symbols). Selected examples demonstrate creative aspects of the relationship between image and sound unlike the cases where those creative ways in my opinion were not implemented very well. The thesis should serve primarily as an inspirational material, indicating rich creative potential of sound component of the film, when used as an artistic tool.
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Sound Dramaturgy in Films of Alfred Hitchcock
Patríková, Michaela ; Bláha, Ivo (advisor) ; Kříž, Jiří (referee)
The thesis deals with sound in the work of director Hitchcock. The first part is concerned with A.H.´s relationship towards sound film. It focuses on his film style, his opinion on the birth of sound film and his approach to working with sound. The aim of the second part of the thesis is to analyze sound dramaturgy in selected nine films of Hitchcock. The analysis is accompanied by a DVD with clips of crucial scenes.
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Svatopluk Havelka´s Personhood and His Music
Mikulová, Lenka ; Bláha, Ivo (advisor) ; Zobač, Jiří (referee)
In my thesis I´ve focused on Svatopluk Havelka?s personhood and on his concert music creation, especially the more on his music for feature films. The purpose to analyse his work is to find specific attributes in his composing and find out what makes his character so original that his authentic, idiomatic and variable music becomes an unseparated part of the movie.
This document includes composer?s authentic utterance about his constructive thoughts, his experiences in cooperations with great film directors, shows his meanings about questions within music composing in film generally as well as the way and form of his own creation. Authentic tidings are partly describing his private life and holds us up to uncover the originality of Havelka?s creativeness which is nowadays unfortunately underrated and left behind.
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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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Zdeněk Liška - music in films for children
Kovařík, Pavel ; Zobač, Jiří (advisor) ; Bláha, Ivo (referee)
This bachelor thesis deals about Zdeněk Liška, one of the most known czech music composer of the film and theathre scenic music. Main part of this thesis is about music, which Liška composed to films for childrens and young people. The main part is focused on these four films: Vynález zkázy (1957), Osada havranů (1977), Na Veliké řece (1977), Volání rodu (1977). Analysis of that films explains dramaturgic structure of music and sound part of films, interaction between sound and picture, working with music themes and twenty years of Liška?s artistic experiencies. Thesis is also focused on electro-acoustics music, which was also use by Liška.
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Václav Trojan and Jiří Trnka - Creative Cooperation
Švorc, David ; Bláha, Ivo (advisor) ; Zobač, Jiří (referee)
In my thesis ?Václav Trojan and Jiří Trnka ? creative cooperation? I want to analyze artistic cooperation of two creators of czech animated film. Special theme is a position and the role of Václav Trojan as the author of film music for animated films. By sound and dramaturgy analyze I want to show how is changed the main conception of film ? from music and motion conception with music with most important role (Špalíček, Bajaja) to the latest film of these authors (film The Hand), where the role of music was quite changed.
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