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Organ and its Place in catholic Liturgy
Flamíková, Eva ; TŮMA, Jaroslav (advisor) ; POPELKA, Josef (referee)
Throughout the history the organ has become a musical instrument of the Catholic Church temple. It has become a sacred instrument celebrating the God fully reflecting His majesty.
During its historic development in the Catholic Liturgy the role of organ kept being restated as well as the expression of its sound.
There has always been a lot of place for art in the Catholic Church. The organ as a musical instrument of the temple has become an integrated part of its beauty, nobility and dignity. Changes in the history bring changes into art, church and humanity and sometimes it can be seen that the two inseparable parts of life ? the profane and religious are put in contradiction. Then it is important to vindicate the value and position of the temple in life and so the existence of the liturgical instrument ? the organ.
In spite of certain skepticism attacking liturgical congregations and their importance defending voices of popes, organists and believers themselves can still be clearly heard. They speak about a great value we have inherited from famous composers but also about life of our ancestors who have built organs to bring their spirits closer to the God and the truthful life. It is very important to spread this tradition in the present days too.
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Position of church Organist in the czech Lands
Kšica, Přemysl ; POPELKA, Josef (advisor) ; TŮMA, Jaroslav (referee)
Nowadays we can be witnesses of an opinion, that in czech country was always in the area of czech church music strong tradition amateur musicians´ influence. Supposedly, that it ever was, is correct, that it is still also today. An aim of this work is not to declaim a role of amateur musicians, but an effort to point to aspects, when is required, even irreplaceable a profesionality. It should be awarded a proper significance, which is unfortunately not always well understanded. In a church praxis is often made a difference in an attitude, if it is about amateur organist or profesionalist, and not just in a financial apprasial point of view.
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Theological Mysticism and Symbolism in the Piece "Méditations sur le Mystere de la Sainte Trinité" by Olivier Messiaen
Salvová, Pavla ; POPELKA, Josef (advisor) ; TŮMA, Jaroslav (referee)
The general attribute of Olivier Messiaen´s music is not only his specific musical language, which experiments with time, rhythm, colour, finds inspiration in birdsong, Gregorian chant and music of the exotic lands, but mainly the existence of a non-musical message. The first part of my thesis is introductory. It includes the description of Messiaen´s life and early musical influences, the nature of his musical style, his general musical aims, and an overview of his most important works. In the centre of my effort is the thematic analysis of Messiaen´s late organ cycle Méditations sur le Mystère de la Sainte Trinité (Meditations on the Mystery of the Holy Trinity). That is preceded with an introduction of the background of the piece, sources of inspiration and symbolism used. The main aim is to explore the complexity of Messiaen´s musical and thematic thinking, and to understand the message of the musical material.
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Latent traces of minimalism in organ music
Málková, Kateřina ; Tůma, Jaroslav (advisor) ; Popelka, Josef (referee)
This thesis describes minimalism in organ music. Minimalism as a form of art or artistic attitude intentionally preferring simplicity was present in thorough history and different cultures. The first chapter tries to understand and analyze key principles and cultural conditions, which minimalism used as its resource. The second and third chapter describes minimalist music as it occurred and developed in the second half of 20th century in both USA and Europe. The last chapter brings some examples demonstrating that minimalism is present in many organ compositions of different styles and artistic époques.
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Prague organ school
Steyer, Jan ; Popelka, Josef (advisor) ; Hora, Jan (referee)
This work focuses on the Prague organ school and presents an overall information about this important czech musical educational institution of the 19 th century. Also this work sets itself a task to provide missing data that can not be found in the specialized musical literature dealing with this topic. Despite the effort to offer a global overview of this topic the work focuses mainly on the facts that are less known or are more difficult to find in the informational sources. For this reasons this work intentionally does not deal with world-famous personalities of the czech musical life, whose names are associated with the school but who are well described and dealt with in multiple publications and therefore it is not a problem to find this information. Regarding its limited extent this work must not be thought of as a completely exhausting, but rather as an overall insight to this problem, its details can represent targets for further closer investigation for those readers who would be interested.
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The technique of the organ playing
Hanuš, Michal ; Černý, Pavel (advisor) ; Popelka, Josef (referee) ; Tůma, Jaroslav (referee)
The thesis named The technique of the organ playing is focused on the main elements of the organ interpretation - the technique, the generation of the tone sound and on the application of these elements. Next points: 1. hindsight, to 19th century - the era of the grounding of the Prague organ school, 2.the opinions of the organ sound, registration and organ building. The organ sound, the registration and organ building have (after opinion of the author) big influence on the interpretation and taste. Author finds the arguments for his ideas in specialized publications and instructive materials, mainly of 19th and 20th centuries. He develops his view about generation of the sound on different types of instruments , the cultivation of the sound and articulation influences markedly the sound of the organ. There is the way to the lively and pregnant interpretation.
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THE ROLE OF ORGAN IMPROVISATION IN LITURGY
Kšica, Přemysl ; Popelka, Josef (advisor) ; Černý, Pavel (referee)
This work is trying to consider the consequences of organ improvisation in a relation to the roman-catholic liturgy especially in The Czech Republic. By the impact of the inner political situation in the second half of the 20th century, well acclaimed tradition of Czech church music was interrupted. Professional musicians was not allowed to officially work on a church base. In the process, those professionals were replaced by an amateur musicians, which obviously have not recieved proper training and qualification. It had a result in generally lower artistic level and also artistic disillusion of church ?audience?. The consectary of all that is, that today church music or more precisely church organ improvisation is no longer well recieved, understood and appreciated. The goal of this work is to point that organ improvisation is not just some kind accidental prelude but a highly professional work which certainly needs a lot of attention and years and years of continuous work, study and practising. Importance of an organ improvising is in different undercolouring of each part of liturgy and mainly in intesifying enjoyment of it. Among others, I also mention the problems of today which harm and cause serious trouble for quality musical profession. Other topic of this essay is my thoughts about each musical entrances and parts in liturgy, its composition, form, structure etc.
I hope this work might get a base for a further discussion about present state of church organ music and its problems as well as helping organists and catholic community to understand and help each other.
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Organ Transcriptions
Gric, Drahoslav ; Tůma, Jaroslav (advisor) ; Popelka, Josef (referee)
In his Bachelor´s thesis the author is focusing on Bach?s transcriptions of
the Violin Concerts by Vivaldi? The Organ Transcriptions ? which the composer
J.S. Bach made in Weimar. Firstly, the reader will be familiarized with the
historical facts which are associated with the origin of the transcriptions. In the
main part of thesis the Vivaldi?s originals and the Bach?s arrangements are
compared. It is demonstrated on examples. At the end of the thesis there are
comments on interpretation and the Vivaldi?s influence on the following
compositions of Bach.
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