|
|
Arvo Pärt - The Choral Tintinnabuli Compositions
Christou, Marios ; Nedělka, Michal (advisor) ; Pecháček, Stanislav (referee)
This diploma work deals with Arvo Part's latest period, the so called "Tintinnabuli" style. The purpose of this diploma is to analyze six Tintinnabuli choral compositions and to discover the well "hidden" quality. To find the origin of the various components that comprised it (melody, harmony, voice leading, form) and to explain as clear as possible the way in which the composer combines them together in a fascinating way, but at the same time having his personal "voice". Consequently, this diploma work has, as its aim, to prove the importance of this new style and how it can be a great contribution in the history of music. Powered by TCPDF (www.tcpdf.org)
|
|
| |
|
|
Akis Pavlou - Music Composer and Teacher
Hadjivassiliou, Michalis ; Pecháček, Stanislav (advisor) ; Kittnarová, Olga (referee)
I would like to take this opportunity to express my gratitude and thanks to the people who have always been there for me and who influenced my life in so many ways. First of all, I am greatly indebted to my supervisor Doc. PhDr. Stanislav Pecháček. 1 would like to express my deep appreciation for all his invaluable support, encouragement, guidance, help and advice throughout the five years 1 have known him as student in the Charles University, Faculty of Education, in Prague, Czech Republic. As I have this opportunity 1 wish to thank my teacher Akis Pavlou for his time discussing with me all the topics which are included in this dissertation. I owe him a huge "thank you" not only for giving me the opportunity to work with him for this dissertation but also for all he has taught me, his precious encouragement and his endless invaluable emotional support during the 16 years I have known him as his student. 1 cannot forget, of course, the persons who entirely support me from the very beginning of my studies and even more when 1 started writing this dissertation. 1 am particularly indebted to my sister Angela and my brother-in-law Chris Zillman for their assistance and editing services. Their help is gratefully acknowledged.
|
|
|
Composer and Teacher Petr Šandera
Salák, Pavel ; Pecháček, Stanislav (advisor) ; Nedělka, Michal (referee)
Résumé This Master thesis called "Composer and pedagogue Petr Šandera" disserts about a musical personality from Jihlava's region, where comes also the author of this Master thesis Pavel Salák, Šandera's student, from. Petr Šandera (*1941), who is the object of this work, graduated Academy of music in Brno in 1965, then four years later he graduated Janáček's Academy of music arts in Brno, both school in specialisation Playing organ. After he finished studies, he worked as a musical teacher in Piešťany, in Rožnov pod Radhoštěm and in Jihlava. Beside it he was employed as an organist in Jihlava's crematorium. In years 1991-2002 he worked as a director of Jihlava's art school. Beside his work he addicted himself to composition during his life. He is an author of 129 opuses so far. The aim of this Master thesis is to introduce Petr Šandera, his life, his pedagogical working and mainly to point out to his abundant musical pieces, from which the essential part hasn't been interpreted yet. By the help of the analysis of two choir pieces this Master thesis should characterize Šandera's style of composition. Oral dialogues with Šandera were the main methods of work, Šandera's comments are often quoted. The result of these dialogues are chapters about Šandera's life, his pedagogical working and an extensive chapter...
|
|
| |
|
| |
|
|
Central African Music
Polydorou, Nikoletta ; Kittnarová, Olga (advisor) ; Pecháček, Stanislav (referee)
In my bachelor thesis I studied how harmony, rhythm and forms can apply in ceremonial music in Central Africa, forms and rhythms that we can find in European music also but somehow different. Firstly, I spoke about the Geographical area in Central Africa, which is divided in latitudes. And how in these latitudes since there were boundary marks, political territories involved. These territories were French Equatorial Africa, the Belgian Congo and Ruanda - Urundi, Uganda and Tanganyika. Secondly, I speak about ceremonial music, how music, dance and drama come together. It is very strange to notice that in some of their languages they use only one word for music, dance and drama. I moved through healing, initiation, birth, marriage, hunting, and New Year and new moon ceremonies. Furthermore, one of the most interesting parts of my thesis is the "Talking Drum", a drum that can announce important news to the tribes. For me of course is very unique but it is normal if we consider that some of these tribes have until nine pitch levels in their speech. One of their special elements is rhythm. African hemiola style is a style that we know from early European music. Considering harmony the most interesting is "hocketus", a technique that can be described by breaking up the melodic flow into interrupted (hiccupped)...
|
|
|
Requiem as a musical form and it's transformations in themusic of nineteenth and twentieth centuries
Gonata, Elena ; Pecháček, Stanislav (advisor) ; Holubec, Jiří (referee) ; Valášek, Marek (referee)
In this thesis, the evolution of the Requiem Mass throughout the centuries has been explored. The evidence provided clearly demonstrates the changes that the Requiem mass has gone through, from the first traditional Requiem mass all the way to the new Requiems of the Contemporary era. While early composers were inspired by religion, over time, a clear shift towards freedom of expression (war, human losses, tragic events) is evident. Requiems can be written for liturgical use and concert halls, and can be performed by choirs, soloists and orchestras (Acapella and Orchestral compositions). Requiems can have both short and long durations, and can have different textures (polyphonic style, homophonic style etc.). The traditional Latin language and religious texts are still widely used, however, there have been many changes throughout the centuries, such as the use of translations into different languages, the use of psalms, bible verses, poetry and famous speeches. Today, a large number of Requiems can be found from composers on a worldwide scale, including America, Europe and Great Britain.
|
|
|
The Legacy of the Composers of Holy Minimalism
Christou, Marios ; Nedělka, Michal (advisor) ; Pecháček, Stanislav (referee) ; Riedlbauch, Václav (referee)
This dissertation is a result of the author's great interest in contemporary music and especially musical "styles" known as "Holy minimalism", "New simplicity", etc. In a way, this work is an extension of my master thesis that dealt with the music of Arvo Pärt which only deepened my interest for this kind of music. Here I also deal with the music of Henryk Mikolaj Górecki whose name very often appears beside that of Arvo Pärt's and he is usually characterized as his Polish counterpart. As a student of the Pedagogical Faculty of the Charles University I realize that the music education students of this university are not familiar with the musical output of the post-modern era, a fact that means that they will not be able to teach anything about contemporary music in their role of music teachers. Undoubtedly, the music of the second half of the 20th century and 21s1 century is an integral part of the history of music and I strongly believe that it has a very high artistic value. Consequently, it is essential that pedagogues know and understand this music. This is the main reason for choosing this topic. Powered by TCPDF (www.tcpdf.org)
|
|
| |
guest ::
