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National Repository of Grey Literature 2 records found  Search took 0.01 seconds. 
Janacek´s sčasování and spletna
 Bogišová, Lucie ; KREJČA, Tomáš (advisor) ; OPLIŠTILOVÁ, Iva (referee)
This master’s thesis deals with the interpretation of the sčasování and spletna, two of the key musical theoretical concepts of Leoš Janáček (1854-1928). The first half of the text is trying to term of sčasování and many of related terms with him to approach from the standpoint of Janáček's theoretical texts and studies by leading Czech musicologists. Also here we highlight the elaboration of the concept in the form of a discipline called musical kinetics, and all formal knowledge of the sčasování here are in the form of dictionary watchword. The goal of the second half of the work is to map the content of the concept spletna and related concepts within terms pocit and pacit and point out that their development in Janáček's creative thinking. Also here is a theoretical work of Janacek's like the basic assumption for our interpretation on which the findings are based on our comments to the reflection spletna for a number of Czech and foreign authors. Even with terms of spletna, pocit and pacit, we evidence clarification of these terms, that will be in the form of the real and the imaginary tone, which characterized Karel Janeček. The main benefit of the work is to bring the music of Janáček's central theoretical expressions in the form of today's musical terminology and hold all-encompassing terms and their interference to modern theoretical research. Using the description of the concepts we examined we also had a chance to point out some interesting moments in the composer's theoretical thinking.
Detailed record
Introduction to the study of jazz music
 Bogišová, Lucie ; KREJČA, Tomáš (advisor) ; Levíček, Jiří (referee)
This bachelor’s thesis is deals with the terminology and basic harmonic phenomenons in the area of jazz harmony. It’s target is a brief and outlining insight into the harmonic part of music, which we come across more often every time, meeting harmony by itself but also across all musical genres, „classical“ music included. It’s main goal is to show to the artists of „classical“ music the basic phenomenons that are characteristic for jazz harmony. The work is divided into four chapters (The chord, Writing of compositions, Basic building material and the Harmonic movement). The benefit of this work is especially the comparison of specific harmonical phenomenons of jazz music with identical (related) phenomenons in classical-romantic harmony. The work is for a good overview replenished with some practical note examples.
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