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The Harmonic Flute and Its Derivates in Carpathian Regions of the Czech Republic - an organological hologram
Šidlo Friedl, Marian ; Matoušek, Vlastislav (advisor) ; Kratochvíl, Matěj (referee) ; Garaj, Bernard (referee)
AND KEYWORDS The dissertation The Harmonic Flute and Its Derivatives in the Carpathian Regions of the Czech Republic - an organological hologram contains the summary, analysis and syntheses of data obtained through the research of little-known instrumental kind in this area of the Czech Republic. Most of the data is published for the first time in this range. In three chapters - Harmonic flute, Tradition, Present - the musical instrument is viewed from many perspectives. The harmonic flute is displayed as a part of worldwide and Carpathian instrumentary; its acoustic and playing features are explained, archaic manufacturing methods are shown and the possible influence on musical thinking of the area is discussed. The theses also investigates the harmonic flute and its derivatives as disappeared musical instruments of the local traditional music and tries to map contemporary revival of its manufacturing and playing. The dissertation is based on analysis of written, audio and visual documents, comparisons, experimental reconstructions, empirical evaluation of objects in museums and private collections and interviews with informants. The theses includes an extensive photo documentation and a CD with audio samples discussed in the text. This theses was inspired by models formulated by...
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Indian classical music: song in karnāṭak tradition
Sýkorová, Eliška ; Matoušek, Vlastislav (advisor) ; Bendíková, Soňa (referee)
This diploma thesis disserts on Indian classical music which is generally divided into two main streams called hindustānī and karnāṭak. It starts with a brief introduction of the matter and definition of basic terminology that is associated with Indian music. Next, it introduces, by means of comparison, two main traditions, the principles on which they are build and musical instruments used in them. The theses then focuses on Indian song genres firstly from a theoretical point of view. Secondly, it presents a translation and analysis of several songs chosen from South Indian tradition karnāṭak. Main themes of this vocal tradition are demonstrated on concrete translations and commentaries. Powered by TCPDF (www.tcpdf.org)
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Outline of history of Indian classical music
Němec, Filip ; Kostič, Svetislav (advisor) ; Matoušek, Vlastislav (referee) ; Andršová, Kateřina (referee)
This bachelor thesis is an outline of history of the indian classical music from the Vedic age to the present, whereas I am focusing on North Indian musical trdition since 13th century, so called hindustani music. Topics of this thesis is development of the musical theory and practices, important theoretical works, influential musical personalities connected with Hindustani music (Khusrau, Tansen, Bhatkhande, Paluskar), history and brief descriptions of the most common indian musical instruments and interactions of music with historical events and changes in the society, for example invasion of Muslims, British rule or growth of Indian nationalism. The thesis is not organized directly in chronological sequence, but inside chapters there are sub-chapters about key aspects (raga, tala) of an Indian music generally. This work contents also chart of contemporary Hindustani notation with western equivalents, a vocabulary of musical therms with transcriptions to Devanagari, picture appendix and bibliography.
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Folk music in the recordings of the Phonographic Commission of Czech Academy of Sciences and Arts
Kratochvíl, Matěj ; Tyllner, Lubomír (advisor) ; Matoušek, Vlastislav (referee) ; Ulrychová, Marta (referee)
The object of the thesis is a collection of recordings made in the first half of the 20th century by Phonographic commission of the Czech Academy. The aim is to reconstruct the history of the project and to analyze the folk m usic included in the collection, so it is possible to tell to what extent it can be taken as a representative sample of folk musical culture of Czechoslovakia in the first half of the 20th century. In 1928 the Phonographic Commission was established at the Czech Academy. Although the idea was originally suggested by linguists, it was decided that all acoustic manifestations of the nations living in the republic would be recorded: i.e. folk and artificial music, narrations in dialects, speeches by theatre actors and important personalities of the public life. Folk music comprised in the end an important part of the outcome of Commission's efforts. The recordings took place in 1929, 1933, 1934, and 1937, first in cooperation with the French company Pathé, later with the Czech company Esta. The outcome of the activities of the Phonographic commission includes a total number of 291 sides contain the recordings of folk music from Slovakia, Carpathian Ruthenia, Bohemia, Moravia, Silesia, and Lusatian Sorbia. Singing and spoken word are sometimes combined in individual recordings. Excluded...
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The Asian department's musical instrument collection of the Náprstek Museum of Prague from an ethnoorganological point of view
Friedl, Marián ; Havlík, Jaromír (referee) ; Matoušek, Vlastislav (advisor)
My theses The Asian department's musical instrument collection of the Náprstek Museum of Prague167 from an ethnoorganological point of view deal with several topics in seven parts: 1. The first part describes the evolution of the ethnomusicological thinking and also the thinking about musical instruments and classification in organology. This part is also aimed to reveal the interrelations between cultural anthropology, ethnomusicology, ethnoorganology and classificatory organology. 2. A specific classification based on Hornbostel-Sachs systematik is shown and explained here as a basis for one part of musical instrument's description in the Náprstek Museum's computer database. 3. How to work with the museum's computer software, how the describing terms from part 2 are used in the database and how they can help us while working with instruments, these topics are included here. 4. In part four we can find numerical and graphical evaluation of the content of collection based on work with the museum's computer software and the describing system devised for this purpose. 5. This part offers basic organographical description of the musical instruments formerly long-lastingly exhibited. (Since 2001 floods whole collection unapproachable.) 6. The Chinese instrumental ensemble and genre Jiangnan sizhu is depicted...
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The Asian department's musical instrument collection of the Náprstek Museum of Prague from an ethnoorganological point of view
Friedl, Marian ; Matoušek, Vlastislav (advisor) ; Havlík, Jaromír (referee)
My theses The Asian department's musical instrument collection of the Náprstek Museum of Prague167 from an ethnoorganological point of view deal with several topics in seven parts: 1. The first part describes the evolution of the ethnomusicological thinking and also the thinking about musical instruments and classification in organology. This part is also aimed to reveal the interrelations between cultural anthropology, ethnomusicology, ethnoorganology and classificatory organology. 2. A specific classification based on Hornbostel-Sachs systematik is shown and explained here as a basis for one part of musical instrument's description in the Náprstek Museum's computer database. 3. How to work with the museum's computer software, how the describing terms from part 2 are used in the database and how they can help us while working with instruments, these topics are included here. 4. In part four we can find numerical and graphical evaluation of the content of collection based on work with the museum's computer software and the describing system devised for this purpose. 5. This part offers basic organographical description of the musical instruments formerly long-lastingly exhibited. (Since 2001 floods whole collection unapproachable.) 6. The Chinese instrumental ensemble and genre Jiangnan sizhu is depicted...
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Mbira - the musical tradition of the Shona in Zimbabwe
Šolcová, Magdalena ; Matoušek, Vlastislav (advisor) ; Slavický, Milan (referee)
In the traditional music of the Shona in Zimbabwe we often encounter a musical instrument called mbira. Throughout the country, it occurs in various forms. Generally speaking, it is a small instrument which consists of number of flat and flared metal strips (lamellae) fastened to a wooden board with a rod secured behind the board with a wire or nuts and bolts. It is held in two hands and played by plucking the reeds by thumbs and index fingers. The present study primarily aims to introduce the Shona musical tradition and the instrument mbira in both organological and anthropological points of view. In my description, I particularly concentrate on the type mbira dzaVadzimu, which plays an important role in the Shona religious ceremonies. The analytical part of my thesis deals chiefly with the rhythmic-harmonic structure of mbira pieces. In appendix, I show a set of mbira music transcriptions in my own variant of tablature and photo documentation taken during my study stay in South Africa. The basic sources of my information are my own experiences from southern Africa (mainly the personal contact with the Shona mbirists) and the literature listed at the end of the thesis. The ethnic group now classified as "Shona" originated from Bantu settlement of the high fertile plateau between the Limpopo and Zambezi...
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Mbira - the musical tradition of the Shona in Zimbabwe
Šolcová, Magdalena ; Matoušek, Vlastislav (advisor) ; Slavický, Milan (referee)
In the traditional music of the Shona in Zimbabwe we often encounter a musical instrument called mbira. Throughout the country, it occurs in various forms. Generally speaking, it is a small instrument which consists of number of flat and flared metal strips (lamellae) fastened to a wooden board with a rod secured behind the board with a wire or nuts and bolts. It is held in two hands and played by plucking the reeds by thumbs and index fingers. The present study primarily aims to introduce the Shona musical tradition and the instrument mbira in both organological and anthropological points of view. In my description, I particularly concentrate on the type mbira dzaVadzimu, which plays an important role in the Shona religious ceremonies. The analytical part of my thesis deals chiefly with the rhythmic-harmonic structure of mbira pieces. In appendix, I show a set of mbira music transcriptions in my own variant of tablature and photo documentation taken during my study stay in South Africa. The basic sources of my information are my own experiences from southern Africa (mainly the personal contact with the Shona mbirists) and the literature listed at the end of the thesis. The ethnic group now classified as "Shona" originated from Bantu settlement of the high fertile plateau between the Limpopo and Zambezi...
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Mapping the Individual Musical Experience in Post-Apartheid South Africa: A Bio-Ethnography of Township Dweller Lesiba Samuel Kadiaka
Zdrálek, Vít ; Matoušek, Vlastislav (advisor) ; Lucia, Christine Elizabeth (referee) ; Horáková, Hana (referee)
The dissertation is a biographical ethnography of an individual, ordinary musician and Mamelodi township dweller, Lesiba Samuel Kadiaka (*1962) in South Africa. It is based largely on fieldwork totalling more than 12 months conducted in five periods over six years between 2006 and 2011. It examines the possibilities of studying an average (rather than 'leading') musician ethnographically and their implications and consequences for wider ethnomusicological and South African music research. It makes a practical contribution to the wider debate about the relationship between individual, social, and cultural structures, and breaks new ground in its focus on the previously little known music and practices of Mr. Kadiaka's church, the Zion Christian Church. The research consisted mainly of ethnographic observations of various kinds of musical activities in which Mr. L. S. Kadiaka was involved in as a solo musician (songwriter and song singer) and as a member of the ZCC, on the one hand, and of deep interviews over the time span of six years, on the other. It consists of a biographical part dealing with his narratives about childhood in rural Ga-Mphahlele and his later life in Mamelodi township. Iconographic historical sources of a private nature are use too. The second part describes in three large...
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