|
|
Russian music of 20th century and its influence on the czech production
Aslamas, Anton ; Kurz, Ivan (advisor) ; Loudová, Ivana (referee) ; Gemrot, Jiří (referee)
The goal of my work is above all to point out the mutual interconnection
of two Slavonic cultures in the field of music. I laid out this goal
also for the reason that in the last twenty years these bonds appear to
have fallen into oblivion or not to be much in the center of interest of
the public. The first chapter surveys the social situation in Russia of
the last century and its impact on music. Further I consecrated each
chapter to one of five great artists of the era ? I. Stravinsky, S.
Prokofiev, D. Shostakovich, S. Gubaidulina and A. Schnittke. I also
mentioned other composers whose artistic significance is ratter smaller
than the significance of the great artists referred to above. Then
follows the most important part of my work ? analysis of concrete
examples of influence of Russian music on the Czech music. I
particularly devoted myself to S. Havelka's Symphony No. 1 by, V.
Sommer's Vocal symphony, L. Fišer's /Sonata for piano/ No. 4; by O.
Kvěch's Metamorphosis for violin solo and cord quintet and finally V.
Tichý's Sonata for piano on the theme of Sergei Prokofiev.
|
|
| |
|
|
The Integration Of Electroacoustic Component In Instrumental Music
Trojan, Jan ; Slavický, Milan (advisor) ; Kučera, Václav (referee) ; Kurz, Ivan (referee)
The intention of this Diploma Work is to create a complex text about the possibilities of using an electroacoustic component in Instrumental music. The work predominantly deals with its participation not only as an instrumental inset in my composition output, but also as an element affecting my composition language.
The aim of this text is to find out to what degree it is to possible to influence a language of a contemporary composer and his or her instrumental sentiment by the electroacoustic component.
|
|
|
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.
|
|
|
Problem of style contrapozition
Sommer, Lukáš ; Kurz, Ivan (advisor) ; Gemrot, Jiří (referee) ; Riedlbauch, Václav (referee)
Intention of dissertation is going a limit of style contraprozition, inflicting contrapozition on thought - creative stream and marking to classification of poly - style. Withing framework of philosophy - literary penetration, style contraposition is confront with related literary method "double - coding".
|
|
|
Timbre and Harmony
Mrkvička, Luboš ; Slavický, Milan (advisor) ; Kurz, Ivan (referee) ; Řehoř, Bohuslav (referee)
This paper focuses on the musical movement called spectral music (almost exclusively concerning its French form). Spectral music contributed to a deeper reflection of the interrelationship between the phenomena of the instrumental timbre and the pitch organization and, in this matter, has been perhaps the most significant music style from the seventies up to the present. The introductory chapters contain general characterizations of the historical context of spectral music, as well as the description of its initial gesture and structural basis. The main part of the paper follows, dealing with the individual compositional techniques: the analyses of particular musical examples chosen from the pieces by the leading figures of this musical movement (Gérard Grisey, Tristan Murail and others). The aim of the conclusion is to shortly confront the spectral compositional techniques with the serial ones.
|
|
|
WIND INSTRUMENTS OF MODERN SYMPHONY orchestra
Hybler, Martin ; Kurz, Ivan (advisor) ; Riedlbauch, Václav (referee) ; Bláha, Ivo (referee)
My work concerns wind instruments of the symphonic orchestra seen from the
perspective of the current period ? that is instruments which in unconventional
ways offer new sound possibilities. In the opening three chapters I will briefly
outline common features of wind instruments, of their principles of sound
creation, sound characteristics and the function of the wind instrument in the
orchestra. I will focus on their notation, and on air consumption and breathing.
The following chapters cover dynamic possibilities of wind instruments,
articulation, sound effects and muting. The focal point of the work lies in the
chapter about special possibilities of wind instruments, for instance, multiphonics,
bisbigliando, double-trill, flageolets, slap-tones, echo-tones etc. In the
closing chapter I sum up the results of my experiments of tremolo of all tone
combinations in the main representative family of wooden wind instruments
(flute, oboe, clarinet, bassoon, and saxophone). From the tests arise additional
synoptic tables of special techniques.
|
|
| |
|
|
Concerto grosso in contemporary music
Hájek, Jiří ; Kurz, Ivan (advisor) ; Riedlbauch, Václav (referee) ; Parsch, Arnošt (referee)
The bachelor's dissertation Concerto grosso in contemporary music includes the definition of concerto grosso as a conception in music's terminology, it's role in the music's history and introduces the leading composers of this style. There are analysed six scores of authors, who were concerned with this form. Afterwards follow the definitions of single compositional principles of concerto grosso. The principles of this form are compared with the results of single analyses in the next chapter. Finally I confronted my bachelor's compose Concerto for trumpet, timpani and strings with compositional principles of concerto grosso. In the conclusion is summarized my whole dissertation and are recapitulated single steps which I took. At the end is written the list of used literature out.
|
|
| |
guest ::
