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Playing as a tool to motivate pupils in musical and educational classwork in elementary school. Games with music theory in classes with extended teaching of music lessons
Dvorníková, Lenka ; Váňová, Hana (advisor) ; Hurníková, Kateřina (referee)
The thesis deals with the use of musical educational games in teaching music theory. The theoretical part explains some general concepts such as game, activation, or the child's personality. Text is based on the history of education, highlighting the views of famous philosophers, doctors, teachers, psychologists and other thinkers, who focused on child's play and the personality of the child. This part of the thesis also presents ways how to work with music playing in the singing, listening, instrumental and musical movement activities, according to some contemporary music teachers. The research focuses on experimental teaching with application of games with music theory, which were specially developed by the author. The research subject is the student and his involvement in activities that help with music theory teaching. The study identified some sub-goals: Discover the impact of educational games for pupil's activation and their participation in experimental teaching music education. Discover pupil's experiences from the game and checking the effectivity of the learning. Determine to what extent the didactic game affect the student's interests to learn music theory to alleviate the fear of poorly understood subject matter. The research verifies the set hypothesis. Although the research results...
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Josef Jiránek in the light of the Prague's archive sources
Křivský, Václav ; Ottlová, Marta (advisor) ; Gabrielová, Jarmila (referee)
The thesis focuses on virtuoso pianist, teacher, musical theoretician and composer Josef Jiránek (1855 - 1940). The thesis draws from Josef Jiránek's own estate, as well as resources kept at various archive institutions in Prague. It underlines Josef Jiránek's merit as regards the art of the piano and piano education in particular, while emphasizing Hugo Riemann's influence on his music-teaching as well as theoretical ideas. In the light of the Prague resources, Josef Jiránek may be viewed as a follower of the traditional interpretation legacy of Bedřich Smetana. Nonetheless, by further elaborating Smetana's legacy from a purely scientific perspective and with his analytical and rational approach to piano work, Josef Jiránek had indeed largely contributed to the development and evolution of piano education and piano reproduction art - regardless of the fact that his ideas and methods were later overcome. The objective of this thesis is to open a gateway that would attract greater attention of musicologists to Josef Jiránek, who has been on the periphery of their interest and whose true picture remains hidden under the label "Bedřich Smetana's pupil".
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Using concertante principle in works by Alfred Schnittke
Fila, Jan ; RIEDLBAUCH, Václav (advisor) ; FILAS, Juraj (referee)
Concertante principle is one of the compositional technic that goes along in the western music
for more than four hundred years. Basis for this historic techniques are used until now. For
researcher arises the question: Exists the concertante principle in the newer musical literature,
or merely is a relic of the distant past? In the last few decades has been one of the strongest
personalities, who dealt with the using of the concertante principle, the Russian-German
composer Alfred Schnittke, who wrote several dozen concertante works. In music history
after the Second World War, we can hardly find any another person that would be dealt with at length this genre. The aim of this thesis is to examine in detail, how the composer treated
with this technique if used only historically given compositional techniques, or innovatively
replaced. As a method of investigation was chosen analysis of large amounts of scores, on
which there is evidence Schnittke use and targeted using of concertante principle.
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The current form of teaching harmony at the secondary level
Andělová, Aneta ; TICHÝ, Vladimír (advisor) ; KVĚCH, Otomar (referee)
The thesis deals with comparing teaching harmony at the three different types of schools. First, more practical part involves characteristics of individual schools, history and information about teaching harmony. This thesis also presents the analysis hours of listening comprehension harmony at various types of schools. The transition between practical and theoretical part consists of questionnaires for students and teachers and their evaluation. First, it focuses on assessing each school separately, then evaluates the overall state of harmony teaching at these schools. Theoretical part includes information about the concept of harmony in several Czech publications and consequently also my own definition. The last chapter involves my own structures of teaching harmony in which are systematically discussed various topics classical-romantic harmonies.
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Introduction to the study of jazz music
Bogišová, Lucie ; KREJČA, Tomáš (advisor) ; Levíček, Jiří (referee)
This bachelor’s thesis is deals with the terminology and basic harmonic phenomenons in the area of jazz harmony. It’s target is a brief and outlining insight into the harmonic part of music, which we come across more often every time, meeting harmony by itself but also across all musical genres, „classical“ music included. It’s main goal is to show to the artists of „classical“ music the basic phenomenons that are characteristic for jazz harmony. The work is divided into four chapters (The chord, Writing of compositions, Basic building material and the Harmonic movement). The benefit of this work is especially the comparison of specific harmonical phenomenons of jazz music with identical (related) phenomenons in classical-romantic harmony. The work is for a good overview replenished with some practical note examples.
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Musical time - its deviation from the astronomical time
Oplištilová, Iva ; TICHÝ, Vladimír (advisor) ; Šťastný, Jaroslav (referee)
My dissertation is based differentiating individually experienced, musical time, and shared, astronomical time. I combine the knowledge gained in cognitive science experiments with music-theoretical approach following the path from sound received to the hierarchized representation of the temporal component of music. My focus are those possible mechanisms that allow deviation of musical time from the astronomical one and the factors influencing them. As concerns music theory, I chose the analytical tools provided by the General Theory of Segmentation and the Recontextualization Theory by D. A. Hanninen. The inner sharing of pulse by the listener or performer with the pulse of sounding music I consider to be the decisive moment for/in the deviation of musical time. I link the pulse boundary with prospective and retrospective strategies of the perceiving person. My considerations unfold on an axis between two poles of pulse and gesture, i.e. between full kinaesthetic synchronization with the outer, shared time and the maximum deviation dependent on the individual manner the gesture is internally represented. I convey the hypothesis that the deviation of musical time is possible only with retrospective strategies of processing of musical events.
My theoretical considerations and suitability of the chosen analytical tools/means are verified in the second part, in analyses of compositions by G. Grisey, O. Messiaen, P. Kotík, P. Graham and A. Breier. Enclosed are also some theoretical reflections of these composers concertning their work with time.
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Consonance and Dissonance in the Context of My and Other Composers' Works
Klusák, Martin ; LOUDOVÁ, Ivana (advisor) ; KURZ, Ivan (referee)
The first three chapters cover historical and contemporary theories of consonance and dissonance that directly influenced my work. This thesis focuses on music-theory and acoustic interpretations of the two terms, but contains also two non-conform points of view on the subject.
In the last - fourth - chapter, using own reflections and analyses of own compositions, I describe main relationships of the terms consonance and dissonance with my works.
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Algorithmic Methods for Generating Acoustic Music
Dos Santos Agostinho Filho, Gilberto ; MRKVIČKA, Luboš (advisor) ; RATAJ, Michal (referee)
Systematic compositional techniques have been used throughout the history of Western Music, but it was the advent of the personal computer that made algorithmic composition a common reality in the contemporary music scene. The post-war period witnessed the development of several new types of compositional techniques, such as the use of chance, stochastic models and numeric series, all of which heavily influenced the development of computer music. The three main types of computer algorithms used for producing music, i.e. the rule-based, stochastic and artificial intelligent algorithms, are to be analysed. The focus of the present work will be on the algorithmic creation of acoustic musical works, particularly via the automatic generation of musical scores, and the aesthetic consequences of this kind of approach.
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