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An Analysis of the Issue of Czech Musical Declamation in the Concepts of Hostinský and Krásnohorská in the "Struggle for Smetana" in the 1870s and 1880s
Janková, Markéta ; Dykast, Roman (advisor) ; Hons, Miloš (referee)
The subject of the thesis is the research of the formation of the theory of Czech musical declamation in the second half of the 19th century. The aim is to present this theory as part of the contemporary dispute on the concept of Czech national music. The thesis relies on the research methodology of the history of ideas, which it combines with the research methodology of the history of institutions, because the theory of Czech musical declamation developed against the background of the development of Czech opera theatre, Czech music criticism and music magazines. The main sources for the research on the subject of this thesis are mainly the contributions of Hostinský and Krásnohorská, who were the only ones to formulate the principles of correct Czech musical declamation. Other sources are contemporary texts, which are related to the context of the contemporary disputes against which the theory of Czech musical declamation was formed. The introductory chapter characterises the impact of the change in the political situation from the early 1860s onwards and the related transformation of Czech cultural life, in which the idea of creating a Czech national music, particularly through Czech operatic works, came to the fore. The second chapter presents the Wagner controversy as the basic impetus for the...
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Didactic interpretation of the piano sonatas of Ludwig van Beethoven
Kljunič, Bojana ; Herden, Jaroslav (advisor) ; Douša, Eduard (referee) ; Hons, Miloš (referee)
For a concept of the so-called didactic interpretation of Beethoven's sonatas based on a didactic analysis of this work which could become a model usable also in other cases, where the a im will be an optimum style realization of not only these basic series of works of piano literature - both in education of piano players and in receptive forms of musical education. The presented concept of didactic analysis and interpretation is based on an objective structural analysis based on knowledge of historical, biographical and other connections. A special position is occupied by those attributes which can be explained by the language of music theory: harmony, counterpoint, music forms and music tectonics. The reason is the fact that just these disciplines were in their classical theoretical form as well as in their pedagogical application constituted on the basis of a reflection of work of Vienna classics, especially L. van Beethoven. Doctoral thesis is based on three large chapters
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Didactic interpretation of the piano sonatas of Ludwig van Beethoven
Kljunič, Bojana ; Herden, Jaroslav (advisor) ; Douša, Eduard (referee) ; Hons, Miloš (referee)
For a concept of the so-called didactic interpretation of Beethoven's sonatas based on a didactic analysis of this work which could become a model usable also in other cases, where the a im will be an optimum style realization of not only these basic series of works of piano literature - both in education of piano players and in receptive forms of musical education. The presented concept of didactic analysis and interpretation is based on an objective structural analysis based on knowledge of historical, biographical and other connections. A special position is occupied by those attributes which can be explained by the language of music theory: harmony, counterpoint, music forms and music tectonics. The reason is the fact that just these disciplines were in their classical theoretical form as well as in their pedagogical application constituted on the basis of a reflection of work of Vienna classics, especially L. van Beethoven. Doctoral thesis is based on three large chapters
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Towards melodic aspect of contemporary music
Bakla, Petr ; Hons, Miloš (advisor) ; Šťastný, Jaroslav (referee)
The object of this paper is the theoretical examination of the melodic aspect of contemporary music, e.g. music of the last 30-50 years, especially its progressive, non-traditionalist currents. The melodic aspect is defined as the total of those properties of a given musical structure, which emerge from structure?s design in the horizontal sense.
The first part deals with the criticism and rethinking of the classical conception of melodics as music theory?s discipline. The proposed, amplified conception of melodics is effectively applicable in the field of both contemporary and traditional music research. The main object of the newly conceived melodics is not a melody as an objective structure privileged in respective context, but the melodic aspect conceived as a property of the whole (super)structure. To be relevant for examination and deliberation, the melodic design of the given structure does not have to be perceptionally evident. Among other, this part of the text brings an universal definition of melody and deals with possible points of view in examination of musical structures.
The second part brings a typology of melodies. The categories of the typology are represented by melodic types of pronounced morphological set-up. The melodic types, important in contemporary music both what regards quality and quantity, are defined by their objective properties, as well as by the divergent tendencies they represent in respect to classical melodic norms. The last chapter brings an outline of possible classification of multi-part structures, taking advantage of the typology of melodies.
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Possibilities of the music objects operations
Svoboda, Tomáš ; Hons, Miloš (advisor) ; Tichý, Vladimír (referee)
This thesis deals, first of all, with the different ways of dividing music space (Chapters I-III). It can be divided into two dimensions ? sound dimension and time dimension. The structure of each dimension can be further divided. In this way, within each dimension will be created various (sound and time) objects, decided either by the concrete structure, or, if the structure cannot be assigned, by an outline describing the shape of the object. Only by combining objects from both dimensions, will types of music objects be created. Those which have no inner order will be called a group. By permutation of the elements of this group, different, precisely organised shapes will be created. Such objects will be called segments (Chapter IV.).
Chapter V. is dedicated to the music objects? operations. All operations are either partial (progressing in the frame of one dimension), or total (simultaneously progressing in both dimensions). Such operations are: transposition, multiplication, inversion, turn, etc.
This knowledge is to be used in the universal method of contemporary music analysis. In this way, the type of the music object and its changes caused by the ?operations? can be defined. As result, it will be possible to assess the structure of the composition as a whole. The information can also be used in the opposite way: as a compositional progression, consisting of creating objects and using them in ?operations?.
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