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Space and tectonics in musical
Pálka, Tomáš ; Slavický, Milan (advisor) ; Kopelent, Marek (advisor) ; Loudová, Ivana (referee) ; Novák Zemek, Pavel (referee)
Submitted thesis is a result of searching for relationships between music and space, between musical parameters and acoustical features of halls and objects for musical
production. Throughout the history of music present a number of works have been
composed which reflect a character of a particular space. The space is directly
reflected in their tectonic structure or instrumentation.
Twentieth century brought about an important change in perception of influences of
the space on the listener. Within this context emerged collaborations between
composers and architectures such as the cooperation on the Philips pavilion in
Brussels between composer Edgard Var?se and architect Le Corbusier. Iannis
Xenakis composer and architect in one person projects later the building Polyptops in
Montréal. An important role in this change of perception has played the interest in the
electro acoustical music from the fifties of the twentieth century onwards. The
acoustic properties of architecture and acoustic phenomena within electro acoustic
music form the basis of this thesis. It surveys the use of the principles of echo,
reverberation, clarity, as well as flutter echo or ?reverse? of reverberation within these
compositions. The analyses of these primary and derived acoustic phenomena in
musical piece form the focus of this thesis.
Whole thesis is divided into two main parts: First part describes acoustic properties
of halls utilized in music and the principles of creating of a space with particular
acoustic properties as described in a theory of building. Several conceptual types of
space are distinguished here.
Second part analyses selected compositions from the point of view of incorporating
the space or spatial principles within its musical tectonics. Historical compositions
from Lasso, Gabrieli, Tallis, Vivaldi?, but above all twentieth century compositions of
Ives, Martinů, Kopelent or Nono are analyzed. Analyses are chosen that way to have
such spectrum of pieces which are different in ways of working with space but which
can simultaneously be complementary one to the other. This part also summarizes
findings from analyzed compositions which are sorted by given phenomena.
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