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Prague as a crossroad of European opera in the mid 19th century with special regard to J. F. Kittl
Šochman, Martin ; Ottlová, Marta (advisor) ; Kachlík, Jan (referee) ; Kopecký, Jiří (referee)
One of the most fundamental changes of the European opera production of the so-called long 19th century - apart from the change of the music structure itself, opera dramaturgy (or poetics) and forming of stable repertoire among other things - was its internalization: it was no more Italian opera as the only international operatic idiom but various traditions were influencing each other, the most important being the French, German and Italian operatic traditions (apart from the Russian one). The core thesis of this work, as it is seen in its title, could be formulated as follows: Prague in the mid-19th century could be regarded as a crossroad of European opera, in other words a place where these operatic traditions were in play. It means two things: First, Prague opera repertoire became international (many French, German and Italian operas were performed here). Second, dramaturgy of poetics of these various genres was projected into works of home composers. Dramaturgical analysis of four chosen operas - three of them by Johann Friedrich Kittl (Bianca und Giuseppe oder Die Franzosen vor Nizza, Die Waldblume and Die Bilderstürmer) and one by Josef Dessauer (Lidwinna) - aims to document this second statement. To which extent a composer is led and determined by a given libretto could be seen at the case of...
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On a Question of the Dramaturgy of Kittl's Opera Bianca und Gisuppe oder Die Franzosen vor Nizza
Šochman, Martin ; Ottlová, Marta (advisor) ; Gabrielová, Jarmila (referee)
The Czech opera production of the so called "Pre-Smetanian" era represents a topic quite neglected by music historians. It is therefore the goal of this master's thesis to repay this debt by showing Kittl's opera, Bianca und Giuseppe oder Die Franzosen vor Nizza, (the libretto, written by Richard Wagner, based on the novel, Die hohe Braut, by Heinrich König) as a work of art which illustrates the high quality of the Prague opera scene in the mid-1800s. The core of this thesis consists of a dramaturgical analysis of the final form of the mentioned opera. This analysis advances in three steps. 1. The main idea of König's novel and its aesthetic are presented in the light of his life. 2. The following chapter concerns Wagner's libretto. Apart from showing the differences between the novel- and opera aesthetics, the emphasis is on the dramaturgical means which Wagner employs: various usage of the couleur locale, ensemble of the pezzo concertato type, working with specific time structures in the opera or allegorical usage of the so called - as Frenchmen say - spectacle d'optique. 3. The next chapter strives to assess the extent to which Kittl succeeded in expressing Wagner's intentions or, in another words, the extent to which Wagners's "poetic intention" (dichterische Absicht) came true in Kittls's music....
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Musical Field as a Sociological Problem: A Contribution to the Sociology of Music.
Šochman, Martin ; Šubrt, Jiří (advisor) ; Duffková, Jana (referee)
The following theoretically oriented thesis from the music-sociological field - which traditionally includes at least two different disciplines: music sociology on the one hand and sociology of music on the other hand, as it is presented in the chapter Music-sociologically investigation [Hudebně-sociologická zkoumání] -, based on conceptions of classical social thinkers, aims to present the notion of the musical field as being a fertile concept which enables an unconventional - sociologically based - analysis of both musical work and musical life (considering musical institutions, etc.). Firstly, Adorno's conception of music sociology (Musiksoziologie) - based on the "musical immanent analysis" - is presented as it strives to uncover the social aspect (das Gesellschaftliche) of music. The succeeding part of the thesis is engaged with another German sociologist - Norbert Elias - aiming to present his Mozart essay by interpreting it in the context of the civilisation theory. The core of the thesis lies in the chapter named Musical field [Hudební pole] which follows the considerations of the French sociologist Pierre Bourdieu: With its roots in the notion of the social field (champ social), this chapter presents the concept of the musical field itself as well as it aims to interconnect the seemingly...
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Bedřich Smetana: The Symphonic Poem "Tábor"
Šochman, Martin ; Ottlová, Marta (advisor) ; Gabrielová, Jarmila (referee)
The following bachelor thesis deals with Smetana's symphonic poem "Tábor" while taking into account several points of view: in the first chapter the phenomenon of the historical perception of the Hussite movement in the 19th century is presented as being a fertile field for the emergence of quite a few works of art, among them Smetana's "Tábor". The core of the thesis lies in the next two chapters, in which the musical analysis of this symphonic poem is presented and then confronted with previous analyses of this composition (focussing on how these - often very different - points of view justify their motivation). At the end of the thesis "Tábor" is compared with another symphonic poem, Liszt's "Hunnenschlacht".
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