|
|
Organicity as an Aesthetic Concept in Contemporary Music
Dřízal, Jan ; BARTOŇ, Hanuš (advisor) ; FILAS, Juraj (referee)
Diploma thesis Organicity as an aesthetic concept in contemporary music tries through interdisciplinary comparison to point out possible manifestations of organics in a musical context. By organicity is meant the holistic understanding of a music work as an „organism“, in which the whole is to the part as the part is to the whole and which is manifested primarily by its sound shape. The text describes how the concrete musical parameters relate to the organic form and how they model it. The author first defines basic organic characteristics such as homogeneity, causality, non-geometry, processuality, or continuity of the form and then demonstrates them on numerous note examples. It does not create a new theory but seeks to point out the universality of this phenomenon both from the historical point of view and in its current forms. Attention is paid to various types of musical perception, time experience and perception of sound form. The terms „sound object“ and „sound gesture“ integrate into a new context and proposes a new typology of musical processes. The work briefly touches on the origin of thinking about organicity in philosophical and aesthetic discourse.
|
|
|
Music as Film, Film as Music
Klusák, Martin ; RATAJ, Michal (advisor) ; BARTOŇ, Hanuš (referee)
The core of this work is to search for analogies between different aspects of music composition and film speech in relation to music and film theories and my own compositions and art works.
The initial chapter focuses on the terms visual music and synaesthesia. The second chapter is the principal part of the thesis, and compares different parameters of musical composition and film speech and tries to find inspirational influences between these two. In the third chapter I use the previous research to analyze chosen own works.
|
|
|
The development of interpretational demands on Czech composers works for percussion instruments from the 1960s to the present
Veselý, Šimon ; MIKOLÁŠEK, Daniel (advisor) ; BARTOŇ, Hanuš (referee)
This diploma thesis deals with the growing tendency of composers of Czech artificial music from the 1960s to the present to discover new technical possibilities of percussion instruments and then apply them to the musical process. The work contains several notes about the historical re-evaluation of the percussion instruments in the hands of the composers, and the emancipation of the percussion instruments in the work of Czech composers. The work contains several theoretical and interpretative analyzes, namely the analysis of works by Miloslav Kabeláč, Marek Kopelent and Daniel Chudovský. The aim of the work is to point out the increasing demands for interpretation of contemporary music for percussion instruments, but also the resonant plurality and openness of various composing personalities of the selected time period.
|
|
|
Gates - Sound instalation as an intersection of intermedia paradigms
Rataj, Jakub ; BARTOŇ, Hanuš (advisor) ; TROJAN, Jan (referee)
This work treats about the permeation of three spheres (sound instalation, soundscape and physical computing) and their influence for creating a proper piece of art ? sound instalation The Gates. First I treat about the sound instalation from different points of view ? historical context, the work with time, sound and space, technical and visual elaboration. In the end of the first part I describe the concept of my own sound instalation The Gates. In the second part I treat about the concept of soundscape and its influence for selecting the sound material. The last part treats about physical computing as an instrument for the realization of the sound instalation The Gates and as an instrument for enlarging the possibilities of the intermedial synthesis in a more general point of view.
|
|
|
Specifics of Compositional Thinking in Contemporary Estonian Music
Dřízal, Jan ; BARTOŇ, Hanuš (advisor) ; DUŠEK, Jan (referee)
Bachelor thesis Specifics compositional thinking in contemporary Estonian music
aims to cover the information gap in the field of Estonian cultural sites within the
Czech Republic, focusing on naming the general characteristics of the individual
compositional aesthetics last five decades. In the first section, the text focuses
on the cultural and historical aspects of Estonian territory, including linguistic,
ethnic and folklore specifics. The second section seeks to map the common
features of modern compositional thinking and seeks their origin in folk music, in
particular experiencing nature and religiosity. The third section contains
a detailed analysis in many respects a significant composition of Estonian Veljo
Tormis Raua needmine, which I try to substantiate its previous premises.
|
|
|
Rhytmical system of indian classical music as a source of inspiration for western composers
Reindl, Tomáš ; BARTOŇ, Hanuš (advisor) ; HOŘÍNKA, Slavomír (referee)
In this work, the author addresses how, in different ways, western composers can be inspired and influenced by the concepts of the rhythmic systems used in both North Indian (Hindusthani) and South-Indian (Carnatic) classical music. Numerous examples are given in the text from the works of various European, American and Canadian composers who received inspiration and creative material from Indian rhythms in different ways. Among these illustrations are classics of 20th century music composed by luminaries such as Olivier Messiaen, Miloslav Kabeláč and Philip Glass (among others) - for whom the highly advanced systems of rhythm from India became a major impetus for the development of their musical language. The author himself is a long-term student and performer of Indian classical music, and in this text, through examples from his own compositions, he reveals and explains different compositional techniques influenced and inspired by the systems of rhythm in Indian music.
|
|
|
Influence of synaesthesia on compositional thinking
Bartošík, Zdeněk ; BARTOŇ, Hanuš (advisor) ; KURZ, Ivan (referee)
This thesis deals with the visual arrangement of a sound event within synaesthetical demonstrations (especially the coloured hearing) as well as with demonstrating their parameters that are related to the topic (although many of them are considered subjective).
The intruduction describes selected demonstrations of synaesthesia. The following chapter deals with coloured hearing and its possible relation to the theory and practice of music composition. The final chapter of this thesis shows particular application of this phenomenon in the process of composition.
|
|
|
Interaction of classical and rock music in my work
Worek, Michal ; KURZ, Ivan (advisor) ; BARTOŇ, Hanuš (referee)
In my Thesis, I am trying to introduce my concept of interaction of classical and rock music. It is illustrated by concrete compositions how I proceed when composing and which elements are inspired by classical music and which by rock music. I am also citing my inspirational resources from both kinds of music that I am using in my work. The fundamental part of my Thesis is an analysis of my bachelor composition Symphony of Progress which I intend as an example of a balanced interaction of classical and rock music. I consider its ambiguous genre categorization to be one of the proofs. In this case, it is possible to regard it as progressive rock as well as classical music with the use of rock band. Yet every auditor has to judge himself whether I managed to create such a balanced interaction.
|
|
|
Intentional using of overtones in vocal composition
Jelen, Bohuslav ; RIEDLBAUCH, Václav (advisor) ; BARTOŇ, Hanuš (referee)
The thesis maps possibilities of using overtones first from the performer's point of view and then from position of a composer writing vocal music. It is concerned primarily with overtone singing, in which the singer accentuates a concrete pitch which is then distinctly perceived not merely as colour. The other focus of the work is singing on vowels in which the singer accentuates certain "zones of resonance" through altering the sung vowel. These "zones of resonance" consist of several overtones that aren't perceived as pitches, they are perceived as colour.
|
|
|
Impact of new instrumental possibilities for composing thinking
Krejčík, Jan ; BARTOŇ, Hanuš (advisor) ; GUŠTAR, Milan (referee)
The work describes the concept of disklavier Yamaha (player-piano) with electronics, the concept of a sampler with sampled human voice controlled by an Ondéa interface (Martenot waves) by J. Krejčík and the concept of the interactive piano by J.-C. Risset.
The examples of pieces composed on the basis of these concepts show, how these concepts have affected their definitive music form. The work undertakes a review of the relationship between a musician's gesture and an instrument interface and its relevance to musical perception and thinking. . The work is complemented with a summary of the historical development of player-piano, and Martenot waves.
|
guest ::
