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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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Problems in interpretation of Jan Pieterszoon Sweelinck´s keyboard music
Kadlecová, Daniela ; Mrázková, Giedre (advisor) ; Bažantová, Ivana (referee)
This Dissertation is devoted to the keyboard music of Jan Pieterszoon Sweelinck. The focus is made on the most important problems, which can be useful for the interpretation of this works. At the beginning the period in which J. P. Sweelinck lived and instruments of this period are characterised. In the following chapter a formal analyse of Sweelinck´s keyboard output is made. The last chapters are dedicated to several problems of interpretation of this works - instrumental designation, ornaments and fingerings.
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History of Harpsichord in Czech Republic in the 20th Century
Němcová, Marta ; Mrázková, Giedre (advisor) ; Spurný, Vojtěch (referee) ; Bažantová, Ivana (referee)
The bachelor thesis "History of the Harpsichord in Czech Republic in the 20th Century" deal with two close connected subjects, the history of early music revival and the history of harpsichord revival, both in the world and in the Czech Republic. The goal of the thesis is the first investigation into the still unexplored part of the history of Czech music culture and its contextualisation. Because the chapter about the harpsichord revival accentuates the period of the transition from the modern instruments to the copies of historical instruments, the last chapter discusses the differenxces of the construction of both types of instruments.
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n the interpretation of J. S. Bach´s compositions on the modern piano
Bartáková Vlachová, Andrea ; Vičar, Jan (advisor) ; Bažantová, Ivana (referee) ; Willi, Barbara (referee)
The present work addresses ways of interpreting J. S. Bach´s compositions on the modern piano. It focuses especially on the interpretation of The Well-Tempered Clavie. It characterizes some specific aspects of Baroque music, deals with the main Baroque means of interpretation (articulation, ornaments, dynamics, rhythm, meter rhythm, and tempo), and, subsequently, it applies them to the possibilities of the modern piano, especially in the interpretation of The Well-Tempered Clavier.
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