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Dramatic Efficiency Of Contemporary Compositional Metohods In A Present - Day Opera
Ivanovič, Marko ; Bartoň, Hanuš (advisor) ; Riedlbauch, Václav (referee) ; Nekvasil, Jiří (referee)
The present work would like to introduce a rare interdisciplinary look on opera. The work deals primarily with the technical aspect of compositional processes. However, it also analyses the function of these processes within the scenic context while taking into account the viewers? perception. The term ?opera? is defined as an artificial genre between melodrama and oratorio and also includes works related to opera, even though their inclusion among operatic works might seem problematic. The work considers most important opera works created in the second half of the 20th century which have been chosen so as to cover the widest style range possible by composers L.Nono, K.Stockhausen, B.Maderna, G.Ligeti, A.Schnittke, P.Glass, S.Reich and others. The first two parts are dedicated to the selection of a basic research method. J.Jiranek and O.Zich?s semantic method is used as the basis for the study of the ability of music to communicate. The effect music has on listeners is then evaluated based on the Steffani theory of musical competence. Special attention is paid to the specific situation of contemporary listeners and their perception of the characteristics of the relation between music and drama. The main body of the work is divided into two parts. The first part deals with selected compositional methods and styles and it attempts to point out the specifics and differences of their respective relations to drama. The selection is restricted to serialism, aleatoric and timbre music, polystylism and minimalism. Each of the mentioned compositional methods has its own characteristics and each provides different possibilities of interaction with dramatic texts. The second part analyses contemporary thematic frameworks based on contemporary opera. The analysis often elaborates on findings from previous chapters of the paper. This part mainly considers the contemporary attitude towards vocal parts, today?s libretto and ways it is musically elaborated upon. This part of the paper also provides an analysis of the application and the shift in meaning of the term ?leitmotif?. To conclude, the work attempts to summarise the findings and provide some general theses. These are, in essence, based on the realisation of the broadness of possibilities brought to opera by theatrical and musical development during the last couple of decades. The paper ends with a reference to the possibilities of the functional relation between the scenic and the musical which have not yet been applied. The work also wishes to serve as a contribution to the development of musical-scenic genres expected in the near future.
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