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SOUND COLOUR AND ITS FUNCTION IN MUSIC COMPOSITION CONSTRUCTION
Hořínka, Slavomír ; Bartoň, Hanuš (advisor) ; Slavický, Milan (referee) ; Bláha, Ivo (referee)
In my dissertation Sound Colour and its Function in Music Composition Construction I
am trying to find new point of view on the situations, when sound colour is
becoming an active element. Fundamental factor in selection of concrete
compositions is hierarchy in construction (its presence or contingent abstention).
I am using a triad of terms as a methodological instrument ? Dynamic culmination,
Tectonic centre and Tectonically-dynamic culmination. *ey are specified in the 2nd
chapter. Dynamic culmination relate to the dynamic behaviour, tectonic centre
relate to the hierarchy in construction and tectonically-dynamic culmination is
incorporation of these two in the same time. Crucial term in my dissertation is
centre. Such I read as a part of musical structure, which is more important than
other parts, in light of perception. By this way the centre is structuring musical
stream in time hierarchically. In analysis I am dealing with sound colour function
in less common construction solution, in term of dynamic behaviour and
hierarchy. *ey include cases when: Composition has tectonic centre, which is not
identical with dynamic culmination; Composition is constructed as an arch, but
without tectonic centre; Composition has several dynamic culminations but no
tectonic centre; Composition has no dynamic culmination, but other tectonic
centre; Composition (or its part) is constructed as inverse arch, i.e. descend to the
rock-bottom and backwards; Composition has neither no dynamic culmination or
tectonic centre. In conclusion I am concerning with retrieved information in more
universal context. *us leads me to the question of hierarchical structuring
during musical perception and other wider incidence aspects of construction
conceptions mentioned above.
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The use of improvisation in classical music
Košnarová, Zdeňka ; Filas, Juraj (advisor) ; Bartoň, Hanuš (referee) ; Bílý, Antonín (referee)
After a short introduction the concept of improvisation is defined and the thesis traces its development, forms and possibilities from the beginnings of music itself to the second half of the 20th century. The early beginnings of the development are captured in a brief summary. The explanation of the concept of jazz and basic types of jazz improvisation follows. The last - third - chapter deals with improvisation inartificial music of the second half of the 20th century, particularly the aleatory music and the so called improvised music. The thesis concentrates on the improvised music phenomenon in detail. Several subchapters explain the relation between improvised music and composition, space, visual arts, written scores, and the usage of traditional and nontraditional musical instruments in this music, and also form, feedback system and the improvised music reduction. The conclusion of this thesis reflects the use of improvisation in an original composition.
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