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Female Voice in Contemporary Czech Practice of Historically Informed Interpretation of Baroque Music
Jägerová, Monika ; Havelková, Tereza (advisor) ; Niubo, Marc (referee)
This thesis explores specific ways of using female singing voice in subculture of historically informed performance of baroque music in the Czech republic. The thesis is based on principles of cultural theory and cultural analysis. Main source for my research were interviews from the years 2015 and 2016 held with female singers specialized in historically informed performance, and my own living experience first as voice student, later as a performer in the field of baroque music. I explore ways of fulfilling fundamental demand of the subculture for "historical authenticity" (which is usually defined as "how did the music sound at the time of its origin"). I come to key term of "naturalness" and I further explore how this concept is embodied by the singers, how it affects the sound of the voice and aesthetic expectations of the singers and also listeners. I put the experience of "authentic" and "natural" interpretation of baroque music in context of thinking about pleasure, especially in terms of jouissance and plaisir described by Roland Barthes.
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F. V. Habermann: Philomela pia, sive missae sex
Ostřanská, Kateřina ; Niubo, Marc (advisor) ; Veverka, Karel (referee)
This bachelor thesis deals with the mass cycle Philomela pia by František Václav Habermann (1706-1783), a composer being nowadays mentioned primarily in connection with G. F. Handel, who used some of Habermann's music fragments in his own works. The paper summarizes the present knowledge of Habermann's biography and works, listing all the source materials of this mass cycle as well, but the central focus is on two analytical chapters. The first of them attempts to cover the basic parameters of Habermann's masses and puts them to the Central European as well as Italian musical context, the second one contains a detailed study of the technique and the extent of Handel's reworkings of Habermann's music, together with a comparison of the compositional techniques of both composers. An edition of five masses from the cycle is included. Key Words F. V. Habermann, Philomela pia, mass compositions, concertato mass, 18th century, G. F. Handel, Jephtha, borrowings, music analysis
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Josef Mysliveček: L'olimpiade (Analytical probe)
Zítková, Kristýna ; Niubo, Marc (advisor) ; Gabrielová, Jarmila (referee)
The topic of this bachelor thesis is the opera L'olimpiade composed by Josef Mysliveček, the author of Czech origin. Firstly, it presents essential historical information about the genre of Italian opera seria of 18th century and introduces the author. Then, the overall form of the opera L'olimpiade is discussed with focus on the dramaturgy and characteristics of individual solo numbers. Mysliveček's compositional work is further examined in more detail in the textual as well as musical analysis of the aria Se cerca, se dice. With the help of a comparative analysis of Mysliveček's aria and two settings of the same piece by Niccolò Piccinni and Domenico Cimarosa, the approach of individual authors to the aria together with their contribution and originality is finally presented. Key words Josef Mysliveček, L'olimpiade, opera seria, 18th century, musical analysis, dramaturgy
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Antonín Dvořák: The Wild Dove - Symphonic Poem op. 110
Smolová, Eliška ; Gabrielová, Jarmila (advisor) ; Niubo, Marc (referee)
The bachelor thesis deals with Dvořák's symphonic poem The Wild Dove (Holoubek), op. 110, circumstances of its origin and acceptance during the composer's life. The symphonic poem The Wild Dove is put not only in the broader context of Dvořák's work, but also in so called "Erben cult", which appears in Czech culture since the second half of the 19th century and increases the most after 1890. The thesis seeks to balance and evaluate not only available specialized literature, but also prevalent responses to Dvořák's symphonic poems, led by the symphonic poem The Wild Dove. Out of all Dvořák's poems, The Wild Dove achieved the greatest success and convinced the professional public of the composer's ability to compose program music.
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Nitteti (1765), Prague opera by Domenico Fischietti
Klingerová, Magda ; Niubo, Marc (advisor) ; Gabrielová, Jarmila (referee)
The theme of the thesis is the serious opera Nitteti, which was composed in 1765 by the Italian composer Domenico Fischietti at the end of his several-years-long residence in Prague. The thesis aims at introducing Fischietti's serious opera style, which has so far been neglected and mostly overshadowed by his comic operas. This work focuses on exploring and elaborating on the topic of Prague Italian opera of that era through the study of the opera Nitteti. At the same time, the opera Nitteti is compared with a later version of the same title composed for Naples by Fischietti in 1775. One of the foundations for examining the opera is the context of the theater production (especially performing singers) in both opera centers. The composer's treatment of the classical libretto by Pietro Metastasio in terms of music dramaturgy and the transformation of Fischietti's compositional style is also subject to comparison scrutiny in both versions. Keywords Domenico Fischietti, Nitteti, opera seria, Pietro Metastasio, 18th century, arias analysis
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Magnificat by J. D. Zelenka in the context of period composition
Jurák, Pavel ; Niubo, Marc (advisor) ; Hlávková, Lenka (referee)
The topic of this bachelor thesis is the analysis of Jan Dismas Zelenka's Magnificat D major and C major and their comparison with contemporary compositions. Firstly the thesis deals with the question what Magnificat is and with ways of its treatment in the history of music. Next an emphasis is put on the important events in the life of the Hofkapelle of Dresden, on the events which later influenced the conditions of Zelenka's works and their concrete shape. Also the Magnificats of Zelenka's and Heinichen's predecessors in the Hofkapelle are mentioned. Subsequently the thesis is concerned with both Zelenka's works of Magnificat and in the main part it compares them with another 33 Magnificats of great contemporary composers. The analysis showed a certain connection of the Zelenka's Magnificat C major with the Magnificat C major of Johann Joseph Fux and also the connection of the Zelenka's Magnificat D major with compositions of Johann David Heinichen. Key words: Jan Dismas Zelenka, Magnificat, Dresden, baroque, church music, Johann David Heinichen, Johann Joseph Fux, Nicola Porpora
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Ora pro nobis. The Litanies of B. V. M. in the Prague Loreto 1626 - 1784.
Maršíková Michálková, Alena ; Niubo, Marc (advisor) ; Kapsa, Václav (referee)
(in English): The thesis focuses on the Loreto litany in Loreto Prague in the 17th and 18th centuries. In the first part, it explores the Loreto litany in its involvement in the liturgy and puts it in context with the reflection of Marian spirituality. The second part examines Loreto litany from the Prague Loreto music collection from the property of Capuchin Order and from the property of the Lobkowicz family. Because some litany have a reduced setting, it extends the view of rural style analysis by examining printed collections of 18th century rural music.
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Serenade E major Op. 22 (B 52) and Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in Context of Musical Genre of the Orchestral Serenade of the 2nd 19th Century
Kolátorová, Petra ; Gabrielová, Jarmila (advisor) ; Havlík, Jaromír (referee) ; Niubo, Marc (referee)
Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the compositional ways and methods of both Dvořák's Serenades. The composer in his Serenades depicted all layers of meaning of this genre as was such a noble simplicity, oscilation of the genre between chambre and orchestral music between artistic or rather entertaining character of music, continuity of original serenades and history of the genre. Dvořák had created the works which in certain aspects foreshadowed near future (neoclasicism).
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Antonio Ferradini - Stabat Mater
Roubalová, Michala ; Niubo, Marc (advisor) ; Mikulášová, Ludmila (referee)
The master thesis deals with the composition Stabat mater written by italian composer and maestro Antonio Ferradini (1718/19-1779). The thesis evaluates current research situation concerning the personality of Ferradini by criticising the surviving sources. Special care was taken for the music performance practice in the church of Knights of the Cross with the Red Star. Than the comparative method was used for the purpose of analysing author's compositional style. The works were chosen with care to the developement in Stabat mater writings since early 18th century. The comparation was conducted by analyzing the scope of aspects such as setting, instrumentation, scales, affects, rhetorical figures and text-music relationship.
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