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Symphonic works of Jean Sibelius
Hruška, Viktor ; Tichý, Vladimír (advisor) ; Kvěch, Otomar (referee)
The thesis deals with the issues of significant topics in the symphonic works of finnish composer Jean Sibelius. The first part contains details of historical circumstances of these compositions, the second one is based on analysis of the symphonies nr. 1-6. We are aiming to discover the differences between Sibelius´ works and traditional paradigms.
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Harmonic field in Atonal music
Zvěřina, Petr ; Tichý, Vladimír (advisor) ; Matoušek, Lukáš (referee)
The harmonic field in atonal music is not easy to understand. However, I?m trying to adumbrate the theory, which can help us to comprehend some principles of this music. I?m exploring ideas of Vladimír Tichý (Harmonic Field) and Karel Janeček (The Foundations of Modern Harmony). My critical view is focus on Allen Forte?s Structure of Atonal Music. The problem of perception of atonal music is somehow based on the reciprocity of the metric structure and the harmonic material of composition. I?m analyzing the atonal music with the possibility of the segmentation of harmonic field. I clame that relationships between chords are not only based on dissonant characteristics. We can speak of thought processes, which influence the selection of harmonic material. The last chapter of this work is practical analysis of the First piano piece from Three piano pieces op. 11 of Arnold Schönberg.
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Tectonic Principles of the 20th and 21st Century Music
Krejča, Tomáš ; Tichý, Vladimír (advisor) ; Vičar, Jan (referee)
This M.A. thesis Tectonic Principles of the 20th abnd 21st Century Music explores the various methods of formation and structuring structures present days. It also aims at their comparison with earlier compositions. The music structures are examined not only from the point of view of their creation and formation but also from the point of view of their impact on the receiver. Consequently, the findings are applied in the formulation of rules of contemporary music analysis in attempt to improve orientation in musical expressions not only with regard to music analysts but all receivers in general.
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Reicha´s conceptualization of the fugue
Havlíček, Vít ; Tichý, Vladimír (advisor) ; Havlík, Jaromír (referee)
The subject of this work is the fugue as conceptualized by antonín Rejcha. Rejcha discusses the new fugue system in his two volume work Traité de haute composition musicale. In this work I pramarily focuss on the the second volume. Besides a translation into czech, I present a ciritical comentary of this work and subsequently I compare the two volumes from varying stand points, by which I show the conceptual development of Rejcha in the domain of the fugue.
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Theoretical background of free music for keyboard instruments in the 17. century
Vendl, Lukáš ; Tichý, Vladimír (advisor) ; Willi, Barbara (referee) ; Bažantová, Ivana (referee)
Early Music, its history, theory and practice, has become a vigorously discussed theme in the field of musicology. To be able to grasp a musical text adequately, a contemporary performer requires an extensive theoretical knowledge. The theoretical background lying behind the origins of the seventeenth-century musical material was essential in the formation and pre-definition of the possible solutions of the details of compositional techniques and approaches of the period. The theoretical methods employed by the modern disciplines of counterpoint and harmony and the tectonics of music are not sufficient if we wish to examine the nuances of the musical phraseology of those times.
Offering a short introduction into the environment in which keyboard music of the seventeenth century was originating, the first section looks into the character and areas of social demand which resulted in a broad range of musical genres.
The individual chapters of the following section touch upon the key facts about the state and development of different areas of music theory, such as tonal material ? modes, Church and organ keys, the doctrine of clauses, the development of counterpoint and the theory of the fugue, the rhetorical dispositio as the unpronounced, general formal frame of the so-called ?free?, fantasia forms, preludes and toccatas; the application of figures of speech.
The third section brings a survey of the technical conditions which were formative in the case of period musical instruments and traces down some of the occurrences of specific musical terms and consonances in literature. One of the chapters tracks down the influence of tuning and tempering systems, especially of the widespread mean-tone tuning system. The profuse usage of the short, broken and shortened octave accounts for the consonances and sequences which are difficult to perform on modern keyboards. Multiple manuals and the division of the keyboard into the bass and the discant part presupposed a special kind of typesetting.
In the fourth section I propose an analysis of several compositions coming from various places and decades. In an analysis of the cycle of ricercares by G. M. Trabaci I inspect the influence of modality on musical form. Standing at the beginning of the massive development of composition for keyboard instruments, Frecobaldi?s toccatas would have been consulted as a study material by composers throughout the following three centuries at least. Among others, I analyse Toccata prima from Il secondo libro di toccate (1627). The peak of the seventeenth century organ production is undoubtedly to be found in the area of Northern Germany, namely in the work of D. Buxtehude. The section is closed by an analysis of his Preambulum BuxWV 152.
By way of conclusion I speculate about the possible values of studying and theorizing of such issues: if they can only result in excavation of anachronic circumstances, irrelevant to our time, or if they can provide a source of inspiration for the interpretation of early music which has become an inseparable part of contemporary musical scene and culture.
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Non-linear time and silence in post-cagean music
Oplištilová, Iva ; Tichý, Vladimír (advisor) ; Šťastný, Jaroslav (referee)
The main focus of the thesis is the issue of non-teleological listening strategies for music. They are described based on a phenomenological approach from the first person perspective. Phenomenological reduction is suggested as a method of work with phenomena for which classical tools of musical theory have proven insufficient. Non-teleological compositions are related to J. T. Fraser´s theory of temporalities, specifically to non-linear temporalities. The characteristic phenomena in non-linear temporalities are described as experiences, i.e. phenomenologically, as well as from the viewpoint of the material utilized, i.e. as compositional procedures. The main concepts explored are duration, musical object, continuity and gesture. The significance of context and the listener´s range of perspective have been emphasised, i.e. the issue of scales. The last chapter deals with various types of silence. They have been differentiated based on the context where they are used.
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Serialism and its Anticipations and Reminiscences in Context of Europian Melodical-harmonical Evolution
Krejča, Tomáš ; Tichý, Vladimír (advisor) ; Kvěch, Otomar (referee)
This work attempts to view serialism in a complex way, synthesizing analytical, partially historical and comparative points of view. It outlines reasons for and consequences of its creation, describes its basic rules and possibilities of utilization, and introduces its main representatives, authors as well as those who further developed this technique. This work also compares other approaches to composition made of twelve halftones of temperated chromatics and compares principles (methods) of present organization of tone material (tonal system, modal system and serialism). As serialism is, to a certain extent, a synthetic method (it partially utilizes a number of preceding organizational principles and methods), this work also pays attention to anticipations of serialism. It attempts to analyze these individual principles and methods within serialism and find analogical examples in the course of previous historical development of music language. The uniqueness of serialism lies in its unique synthesis of earlier organizational principles. However, serialism is not just a synthesis! The serialism technique is original in its way of work, which is evidenced by the above mentioned change of paradigm; synthesis of previous methods and principles of tone pitch organization is just one of its manifestations. Serialism (dodecaphony) was the first technique which influenced modern music development (in connection with the change of music thinking - transition from tonal to atonal way of expression). It influenced the formation of music language of later composers, who have utilized, to various degrees, serialism within their means of expression in their attempt to seek the newest way of music expression and thinking. The submitted thesis aims at pinpointing and describing these phenomena. With a bit of overstatement
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Rejcha`s treatise Ueber das neue Fugensystem
Havlíček, Vít ; Tichý, Vladimír (advisor) ; Havlík, Jaromír (referee)
The subjekt of this work is the musical theoretical treatise of Antonin Rejcha Ueber das meue Fugensystem. This thesis contains a fascimile of this theoretical work, a diplomatic re-write from gothic letter to modern type, a czech translation and a critical commentary of Rejcha`s work. Another part of the thesis is an analysis of the themes and expositions of Rejcha`s 36 fugue cycle for piano, which closely relates to the presented theoretical work.
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