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Contemporary means of Composition in film Music by Jerry Goldsmith as demonstrated by Examples from the Film "Planet of the Apes"
Patras, Daniel ; KURZ, Ivan (advisor) ; DUŠEK, Jan (referee)
In this thesis, I attempted to examine the influence of means of composition of contemporary concert music, or rather classical music, on selected pieces of film music. The thesis concentrates on specific issues of somehow experimental Hollywood film music in mainstream films. As a representative example, I have chosen the film "Planet of the Apes" (1968), the music of which I found in this respect most seminal. The aim of this thesis was to point out the plentitude of innovative means of composition, despite of the very conservative nature of Hollywood film music, and to demonstrate their practical application on particular examples from the film.
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Positive thinking and it´s influence on the structure of one´s own compositions
Aslamas, Anton ; KURZ, Ivan (advisor) ; LOUDOVÁ, Ivana (referee)
The goal of my work is not only to chart the interesting intersection of music, philosophy and psychology, but also to help other artists (music composers in particular) who might read this work in the future by directing them to this less described and glossed fields of cognition. In the work I proceed from general notions to specific ones. At first positive psychology is described, followed by its affect on a human being in general. The focus point of the work is an exposition on particular impact of positive attitude and thinking on the creation of my compositions. The work is concluded by examples of presumable positive thinking in composition of music from history (mainly L. van Beethoven, O. Messiaen, S. Gubajdulina).
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The Influence of Data Portability to a contemporary musical Practices
Pobořil, Adam ; KURZ, Ivan (advisor) ; TROJAN, Jan (referee)
Today the influence of it to the music is constantly enriched by new
opportunities that help to bring also a different audio-visual experience to
recipients. The implementation of new devices to the musical practice moves in
the way of intuitive controling and performer's freedom of expression. The thesis
is dedicated to this influence and reflects the portability of data between different
media as one of the options of compositional technique.
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Use of spoken Word in selected czech music Compositions in the second Half of the 20th Century with my own composition Work taken into Account
Chudovský, Daniel ; KURZ, Ivan (advisor) ; RIEDLBAUCH, Václav (referee)
This bachelor's thesis reviews the use of spoken word in the second half of the 20th century in Czech music compositions with a particular focus on the historical context and the composition work of the author. Mainly the needs of an update of the musical thinking and a recontextualisation of the creative process where the spoken word is used, are stressed in the thesis. The basic problematics discussed by the author is the duality of applying both the semantic nature of text sources and different means of desemantisation in music compositions. The core of the paper summarizes and rationalizes the effort of composers to accomplish desemantisation of a text with the aim of the author to find these elements in Czech avantgarde and postmodern music compositions. The core of the thesis simultaniously analyses a composition of the Czech composer Jan Trojan Vašemu futuristickému géniu, which reflects the mentioned tendencies. The author of this thesis supports his findings with his own compositional approach to the matter.
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Representatives of New music in Prague at the turn of the fifties and sixties of the 20th century
Rybář, Jan ; KOPELENT, Marek (advisor) ; KURZ, Ivan (referee)
This doctor's thesis called Representatives of New music in Prague at the turn of the fifties and sixties of the 20th century focuses on selected Czech composers, instrumentalists as well as chamber ensembles that composed and performed contemporary music and promoted Czech and foreign compositions of the period avant-garde, or so called New music. The publication is dedicated mainly to three composers: Marek Kopelent, Zbyněk Vostřák and Jan Klusák. The book is divided into 8 chapters. New music and its innovations after World War II, Social situation and musical milieu in Czechoslovakia in the 50th, The Beginning of New music in Prague and in selected specialized ensembles, Media reflections in Czech journals and newspapers, three analyses of Czech compositions from the sixties ? orchestral work Contemplations by Marek Kopelent, String quartet no. 2 by Jan Klusák and Affects by Zbyněk Vostřák and final chapter is called The Legacy of sixtieth. There are also two more appendixes ? the interviews with Jan Klusák and Marek Kopelent ? major living representatives of Czech musical avant-garde.
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Traditional and contemporary music of Kazakhstan in a second half of 20th century an example for contemporary
Khinkov Aitbayeva, Nargiza ; FILAS, Juraj (advisor) ; KURZ, Ivan (referee)
These graduation work talk about the traditional and contemporary music of
Kazakhstan, especially in the second half of the 20the century. The aim was not
talk only about the folk composers and, on the other hand, academic composers,
but also to put out those composers, who have connections between these two
different styles. Here I put the names of the composers chronologically based
on their life periods and divided on the base of the several musicologists. I add
my list of composers, which is enlarged to the list of the composers from the new
generation. Additionally, I pay strong attention to all these selected composers
and show the music examples of the chosen composers. Especially, I analyze
compositions of those composers, who have a different musical style, different
music language and different way of composing.
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The Role of Music as a part of a multimedial project
Hájek, Jiří ; Kurz, Ivan (advisor) ; Filas, Juraj (referee) ; Zouhar, Vít (referee)
The dissertation thesis Role of music as a part of a multimedial project explains,
after a short introduction, the meaning of Multimediality. It explores the main
inspirational points of this topic and the development of some of its disciplines which
in the main principle work on this basis within the historical frame of Musical Arts. The
main article of this dissertation discovers the means of expression of musical part in
multimedial project and tries to produce evidence for theoretical statement using the
attached set of notographic samples. The conclusion comprises a summary of the
dissertation as a whole and recapitulates the steps taken through the research of the
given topic. The work is followed by a list of used literature.
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A solo instrument and the orchestra (with a spe-cial heed to the keyboard instruments)
Hejnar, Robert ; Kurz, Ivan (advisor) ; Parsch, Arnošt (referee) ; Havlík, Jaromír (referee)
Robert Hejnar´s dissertational work A solo instrument and the orchestra (with a spe-cial heed to the keyboard instruments) deals with the problems of the relation and the instrumentation of a solo instrument and the orchestra. Decisive criteria for the in-strumentation of a solo instrument and orchestra are named in the opening chapters of the work; it is done from the viewpoint of acoustic parameters (with the use of the categories of basic tone attributes), types of instrumental concerts and delimitation of the aspects of relation and function of the solo element and the supporting orchestral element. In the conclusion of the work, there are outlined untraditional instrumental techniques for the particular instruments of the main orchestral sections and the key-board instruments which are usable in the instrumentation of the composition for a solo instrument and the orchestra in the view of their dynamic, timbral and technical specifics, including other perspectives of the development of the instrumental concert as a formal whole. It is done on the basis of the frame analysis (with an accent on the form and the tractation of a solo instrument, the orchestral setting and the vocal imagination of the piece) and the following comparison (from the viewpoint of the ty-pe, the form, the element of the cadence, the tectonic ambivalence, the relation and function of a solo instrument and the orchestra) of the representative 20th-century concert pieces (K. Penderecki: Flute Concerto, for flute and chamber orchestra, A. Parsch: Symphony-concerto for horn and orchestra, S. Gubaidulina: ?Offertorium? ? concerto for violin and orchestra, S. Prokofjev: Piano Concerto No. 1 in D-flat major, Op. 10, L. Fišer: Concerto for piano and orchestra, B. Martinu: Harpsichord Concerto, for harpsichord and small orchestra, V. Riedlbauch: Concerto-battle for organ and orchestra).
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