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TECTONICS OF THE 20th AND 21st CENTURY MUSIC FROM THE PERSPECTIVE OF COMPLEX ANALYSIS OF MUSIC STRUCTURE
Krejča, Tomáš ; TICHÝ, Vladimír (advisor) ; KVĚCH, Otomar (referee)
This dissertation tries systematicaly contain rarely reflected phenomenon of tectonics. Its aim is to explore tectonics as a dynamic process of structuring focused on the structures of 20th and 21st century music.
This thesis portrays tectonics as a comprehensive tool of articulation of music and sound material in general. It reflects the current state of research on home field and brings partial views of the world, where, however, faces terminological difference and practical absence of tectonics as a term and as a musicological field or discipline. Tectonics conceived as a systematic discipline reflecting the tectonics as a phenomenon is to some extent the Czech (Czechoslovak) specifics. Within its own concept of tectonics of contemporary music the thesis presents general tectonic scheme of the structuring process. In the range of this work is structure defined as a system and some tectonic functions and principles are described too. The dissertation, however is honestly trying, not aspire to be a comprehensive, complete and systematicly perfect concept of tectonics. In terms of variability and evolution of musical language, which is tectonics an organic part of, it is not even possible. Nevertheless, we believe that this thesis will provide useful insight and possible introduction to closer examination of tectonics as a key phenomenon of structuring the musical substance.
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The current form of teaching harmony at the secondary level
Andělová, Aneta ; TICHÝ, Vladimír (advisor) ; KVĚCH, Otomar (referee)
The thesis deals with comparing teaching harmony at the three different types of schools. First, more practical part involves characteristics of individual schools, history and information about teaching harmony. This thesis also presents the analysis hours of listening comprehension harmony at various types of schools. The transition between practical and theoretical part consists of questionnaires for students and teachers and their evaluation. First, it focuses on assessing each school separately, then evaluates the overall state of harmony teaching at these schools. Theoretical part includes information about the concept of harmony in several Czech publications and consequently also my own definition. The last chapter involves my own structures of teaching harmony in which are systematically discussed various topics classical-romantic harmonies.
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Carl Nielsen´s late style in works for flute
Pingitzer, Simona ; VÁLEK, Jiří (advisor) ; KVĚCH, Otomar (referee)
Carl Nielsen was the greatest Denmark´s composer who lived from 1865 to 1931. The thesis mentions the development of Nielsen´s composition style beginning with his early music and ending with his mature years of composing. All works are compared comprehensively. In his early years, there is a domination of the elements typical for romantic lyricism, but later on, his composition technique becomes influenced by the progressive styles of the 20th century. The thesis is focused on the composer´s late music, because most of his flute works were written during his mature years. The compositions analysed in detail are following: orchestral work Pan and Syrinx, op.49, a piece for flute solo from the incidental music Aladdin, op.34, three pieces from the incidental music Moderen, op.41, Wind Quintet, op.43, Concerto for Flute and Orchestra, six symphonies and Rhapsody Overture: An Imaginary Trip to the Faroe Islands . On one hand, the analysis of each work is accentuated, but on the other hand, the historical events and facts from Nielsen´s life which affected his compositions are pointed out.
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Factors affecting the Developement of harmonic Field
Zvěřina, Petr ; TICHÝ, Vladimír (advisor) ; KVĚCH, Otomar (referee)
The main focus of the thesis is the determination and discussion of factors affecting the developement of harmonic field. The main factors are the importance and significance of individual tones and chords, their mutual influencing and organization, and their relationship to the time component of the composition. I attempt to find out how can these factors help us to comprehend the harmony of composition. I define the general tectonic scheme, that is related to the theory of harmonic field and I consider it to be its extension. The second part of the work is focusing on traditionally used terms and I´m trying to discuss how the determined factors manifest in them. I pay attention to the terms of the common-practice harmony and also to the modern harmony. I?m exploring the ideas of Miroslav Filip (The Regularities of Developement of Common-Practice Harmony), Karel Janeček (The Foundations of Modern Harmony, Tectonics) and Vladimír Tichý (Harmonic Field). The third part of the work contains three analysis of various pieces of diverse composers (Mozart, Webern, Feldman). I´ve tried to analyse these compositions on the basis of foregoing premises so I could prove the applicableness of my thoughts.
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Symphonic works of Jean Sibelius
Hruška, Viktor ; Tichý, Vladimír (advisor) ; Kvěch, Otomar (referee)
The thesis deals with the issues of significant topics in the symphonic works of finnish composer Jean Sibelius. The first part contains details of historical circumstances of these compositions, the second one is based on analysis of the symphonies nr. 1-6. We are aiming to discover the differences between Sibelius´ works and traditional paradigms.
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Serialism and its Anticipations and Reminiscences in Context of Europian Melodical-harmonical Evolution
Krejča, Tomáš ; Tichý, Vladimír (advisor) ; Kvěch, Otomar (referee)
This work attempts to view serialism in a complex way, synthesizing analytical, partially historical and comparative points of view. It outlines reasons for and consequences of its creation, describes its basic rules and possibilities of utilization, and introduces its main representatives, authors as well as those who further developed this technique. This work also compares other approaches to composition made of twelve halftones of temperated chromatics and compares principles (methods) of present organization of tone material (tonal system, modal system and serialism). As serialism is, to a certain extent, a synthetic method (it partially utilizes a number of preceding organizational principles and methods), this work also pays attention to anticipations of serialism. It attempts to analyze these individual principles and methods within serialism and find analogical examples in the course of previous historical development of music language. The uniqueness of serialism lies in its unique synthesis of earlier organizational principles. However, serialism is not just a synthesis! The serialism technique is original in its way of work, which is evidenced by the above mentioned change of paradigm; synthesis of previous methods and principles of tone pitch organization is just one of its manifestations. Serialism (dodecaphony) was the first technique which influenced modern music development (in connection with the change of music thinking - transition from tonal to atonal way of expression). It influenced the formation of music language of later composers, who have utilized, to various degrees, serialism within their means of expression in their attempt to seek the newest way of music expression and thinking. The submitted thesis aims at pinpointing and describing these phenomena. With a bit of overstatement
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