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National Repository of Grey Literature 2 records found  Search took 0.00 seconds. 
Luboš Fišer, the final period of his work
 Endršt, Jaroslav ; Slavický, Milan (advisor) ; Havelková, Tereza (referee)
Analysis which is in chronological order are trying to explain the process of musical language of Lubos Fiser at the last twenty years of his life. They are detaily analyzing his very personal writing. In first chapter are all basic characteristics of Fiser's writing from the end of the 70's. These had Martina Bartosova272 in her theses. Later on in other chapters are details of characteristic writing of Fiser in next twenty years. Let's see which way was going his developing process of musical language. From the view of musical form, it's practically same for the time of the 80's and 90's. Composition is divided into small sections. There are usually twelve up to twenty-five sections depending on the length of the composition. Beside traditional short forms are in that time showing up two other compositions which are much more extensive. These are almost twenty minutes long. Slacburské serenády (1979) have 52 sections and over the one-hour long TV opera Věčný Faust (1983-5) have 131 sections. Each of them is independent section, which are put together in the following order. On the other hand they are not so contrast and antithetic as in 60's. Especially independent sections of larger forms like Věčný Faust or Salcburské serenády are put together into thematic groups with one dominating theme. From 60's is...
Detailed record
Luboš Fišer, the final period of his work
 Endršt, Jaroslav ; Havelková, Tereza (referee) ; Slavický, Milan (advisor)
Analysis which is in chronological order are trying to explain the process of musical language of Lubos Fiser at the last twenty years of his life. They are detaily analyzing his very personal writing. In first chapter are all basic characteristics of Fiser's writing from the end of the 70's. These had Martina Bartosova272 in her theses. Later on in other chapters are details of characteristic writing of Fiser in next twenty years. Let's see which way was going his developing process of musical language. From the view of musical form, it's practically same for the time of the 80's and 90's. Composition is divided into small sections. There are usually twelve up to twenty-five sections depending on the length of the composition. Beside traditional short forms are in that time showing up two other compositions which are much more extensive. These are almost twenty minutes long. Slacburské serenády (1979) have 52 sections and over the one-hour long TV opera Věčný Faust (1983-5) have 131 sections. Each of them is independent section, which are put together in the following order. On the other hand they are not so contrast and antithetic as in 60's. Especially independent sections of larger forms like Věčný Faust or Salcburské serenády are put together into thematic groups with one dominating theme. From 60's is...
Detailed record

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2 Endršt, Jiří
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