|
|
Piano Work of Viktor Kalabis
Kollert, Jiří ; LEICHNER, Emil (advisor) ; MALÝ, František (referee)
Viktor Kalabis (1923 - 2006) is one of the most significant Czech composers of 20th century. His piano works extent is exceptional among output of his contemporaries (two piano concertos with orchestra, three piano sonatas and six other compositions for piano solo). Most of his works are recorded and published.
This dissertation concerns the personality of Viktor Kalabis, a characterization of his musical language and his approach to piano as a tool to express music. This instrument was closest to him and he often devoted to piano the most inner feelings. My aim was to explore his work from interpreter's point of view, the evolution of composer's musical language, the use of instrument's potential as well as new approaches and creation methods. I intended to engage the interest of pianist to V. Kalabis and remarkable qualities of his piano works. I have performed his music at important events (festival, Czech Philharmonic Orchestra concert season) and a concert dedicated to composer's anniversary was recorded by Czech Radio to be later released on CD.
I used the musical analysis as the basic method. I observed the form, harmony, rhythm, usage of instrument's sound, timbre; in concertos also the role of the piano and of the orchestra.
Kalabis wasn't a trendsetter of the avant-garde and he didn't adopt dodecaphonic technique, however he studied it and implemented some dodecaphonic principles. For some period he worked in neoclassicism and shortly neofolklorism styles. He built on traditional harmony, which he enriched with seconds and sevenths proceeding to bitonality and partially also to atonality. He uses both traditional and free forms. Innovation can be found above all in original sound, in creative grouping of instruments and in dramaturgical content of the piece. He laid stress on composition's revealability and listener-friendly character, without being pandering. He created original "non-romantic synthesis" musical language.
|
|
|
On the tectonic function of timbre in contemporary music
Oplištilová, Iva ; Tichý, Vladimír (advisor) ; Kollert, Jiří (referee)
The thesis deals with the issues of timbre which has been for a long time neglected by music theory for its subjective and boundless character. With the development of new branches of science, the situation has changed. Psychoacoustics and cognitive sciences unite perception and measurable acoustic parameters of sound. They certify the existence of common features in perception of different individuals and the possibility of following classification of timbres which can be also used at theoretical analyses of compositions.
The chapters gradually elaborate the general requirements for a music component to be form-bearing, the variety of definitions and descriptions of timbre, timbre perception models and operations on perception spaces. In the final chapter, experimental data are presented supporting the claim that from the cognitive point of view, timbre satisfies the requirements set in the first chapter and therefore it can be, with certain limitations, considered form-bearing in music.
|
guest ::
RSS feed.