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Exploitation of contempory technologies in selected compositions by Tristan Murail
Hadrava, Michal ; Ottlová, Marta (advisor) ; Pudlák, Miroslav (referee)
At first, the compositional process of Tristan Murail's Désintégrations and the compositional process of his Allégories are partially reconstructed. Consequently, an abstract model, which applies to both of these compositional processes, is defined. It is demonstrated, that not only the comparison of the theory of timbre with this abstract model, but also the concept "spectrum of sound" itself leads to the question, what is the relation between an auditory percept of a part of Désintégrations or Allégories and an auditory percept of the sound, whose spectrum served as starting point for this part. Further, it is also demonstrated, that this abstract model leads to the question, what is the relation between an auditory percept of a chord, whose constituent pitches are derived from an aggregate of frequencies, and an auditory percept of a sound, whose partials have frequencies that have been taken from the same aggregate. Finally, the designs of two experiments, whose purpose is to answer these two questions, are outlined and the possibility of implementation of these two experiments examined.
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magery and Visions in the Orchestral Works of Svatopluk Havelka
Andršová, Eliška ; Pudlák, Miroslav (advisor) ; Bartoň, Hanuš (referee) ; Gabrielová, Jarmila (referee)
The aim of this paper is to explore the role of the visual arts and a composer's views in his orchestral compositions. It also examines the composer's attitude to the contemporary world. Based on my own analysis, as well as other published studies and reviews, the paper describes the elements of Havelka's music and reflections of visual and literary sources in his orchestral compositions. We can divide Havelka's orchestral work into three periods. Havelka's personal compositional style was based on the tradition of modern European music of the 20th century during his first period. At this time, Havelka composed his First Symphony and cantata Praise of Light, which manifests the composer's relationship to Communism. In the second creative period (1964-1975), Havelka composed mainly short orchestral compositions, such as Foam, Che Guevara, Hommage á Hieronymus Bosch and Pyrrhos. During this period Havelka's sources of inspiration refer to visual art, paintings and personal visions. The last period of Havelka's work is connected with spiritual work and reflects the composer's relationship to the Christian faith. Due to the fact that Havelka's work is firmly connected with his personal convictions and his relationship to the visual arts, this paper goes through Havelka's entire orchestral work in...
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Josef Bohuslav Foerster: Erotikon (a Song Cycle)
Mixová, Anežka ; Gabrielová, Jarmila (advisor) ; Pudlák, Miroslav (referee)
The presented bachelor thesis deals with personality of Josef Bohuslav Foerster as a songwriter with special regard to the composition of song cycles from the turn of the 19th and 20th centuries. The main aim of the author is a musical-textual analysis of the song cycle Erotikon op. 23 from the years 1894 - 1897 and the frame insertion of this opus into the contemporary cultural-historical context. Special attention is paid to the original poetry of Foerster's songs, the issue of translation, and shifts in prosody when composing a rhythmic text to music. The analysis also focuses on the interpretation of semantic emphases arising from setting the text to music. Keywords: Josef Bohuslav Foerster, song output, song cycle, Hamburg, description, analysis, word-music relation, poets, original poetry
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The Phenomenon of "Song Symphony" in Nikolai Myaskovsky's Work
Frank, Vojtěch ; Pudlák, Miroslav (advisor) ; Gabrielová, Jarmila (referee)
This bachelor thesis defines and explains the terms such as "songness" and song symphony, clarifies their role in the cultural politics of the Soviet Union, and illustrates their realisation in the symphonic music on the example of three symphonies by Nikolai Myaskovsky. The works under discussion are Symphony no. 8 op. 26, no. 16 op. 39, and no. 26 op. 79 which all, in their form structures, contain parts that bear characteristic features of "songness". The analysis here focuses on the role of these song themes in the given symphonies. In relation to Socialist Realism, there is the term "song symphony" present in the contemporaneous musicological literature, with its sources of inspiration being searched for and its ideological function being promoted. This thesis aims to designate the impact of this dogma on Myaskovsky's work, him having born the label of an "intellectual" or "subjectivist" artist despite the fact that up to a certain point he tried to meet the historical norm and incorporate it into his work. Keywords: song symphony, songness, Nikolai Myaskovsky, analysis, thematic work, Socialist Realism, USSR, cultural politics, artist and totalitarianism
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Piano Works by Alexander Moyzes (1906-1984) in their Historical Context
Čerbová, Zuzana ; Gabrielová, Jarmila (advisor) ; Pudlák, Miroslav (referee)
The magister thesis is connected with bachelor's thesis, which was concentrated on Piano Sonata in E minor, op. 2 by Slovak composer Alexander Moyzes (1906-1984) and was concerned on it mainly with collected sources. In this thesis we decided to point out its composing work and possible inspiring sources and therefore the focus of this diploma thesis is its introduction into historical context of piano music of the 19th and 20th centuries. Through composite-technical and stylistic analyses of selected piano sonatas and other works, we want to contribute to the closer characterization of Moyzes composer's personality and to complement the literature that Moyzes Sonate has devoted to in minimal terms from composing work and inspiring sources. Selected pieces include: Brahms Sonata f mol, Op. 5 and Variation and Fugue on a Theme by Handel, op. 24 from the point of view of means of piano stylization, Sonata Eroica, op. 24 for piano by Vít zslav Novák because of their mutual interest in working with modality and mutual close relationships (Moyzes's teacher). In addition to these goals, we will also focus on the other piano works of Moyzes by creating a new chronological inventory based on preserved sources. Key words: Alexander Moyzes, Piano Sonata in E minor op. 2, Johannes Brahms, Vít zslav Novák,...
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Choral Works of Václav Kálik
Křivská, Anna ; Douša, Eduard (advisor) ; Pudlák, Miroslav (referee)
This diploma paper is focused on the composition work of composer Václav Kálik (1891-1951) in its choral work. The aim of the presented text is to provide analyses of selected choral compositions and subsequently to highlight the development of his composing activities in his work. This diploma thesis contains a list of the personal belongings left behind by Václav Kálik from the Silesian National Museum in Opava. Key words Choral work, Václav Kálik, analysis
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The New Simplicity (in Czech music of the end of the 20th century)
Ledvinka, Martin ; Havelková, Tereza (advisor) ; Pudlák, Miroslav (referee)
This study focuses on the specific compositional techniques and approaches that have emerged in the works of some Czech composers since nineteen eighties. Based on analysis of three works by Czech composers the study points out to a compositional use of specific structuring of musical time, which is then confronted with the results of analysis of two works by European (British and Danish) composers. This comparison shows a clear relationship of the trends observed in Czech music and the movement in European and North American music, which tends to be called the new simplicity. In addition to the analyses a great deal of this study is devoted to the historical circumstances of emergence of the new simplicity in Czech music, the specific conditions it had within the context of Czech music and the terminological difficulties associated with this term.
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Exploitation of contempory technologies in selected compositions by Tristan Murail
Hadrava, Michal ; Pudlák, Miroslav (referee) ; Ottlová, Marta (advisor)
At first, the compositional process of Tristan Murail's Désintégrations and the compositional process of his Allégories are partially reconstructed. Consequently, an abstract model, which applies to both of these compositional processes, is defined. It is demonstrated, that not only the comparison of the theory of timbre with this abstract model, but also the concept "spectrum of sound" itself leads to the question, what is the relation between an auditory percept of a part of Désintégrations or Allégories and an auditory percept of the sound, whose spectrum served as starting point for this part. Further, it is also demonstrated, that this abstract model leads to the question, what is the relation between an auditory percept of a chord, whose constituent pitches are derived from an aggregate of frequencies, and an auditory percept of a sound, whose partials have frequencies that have been taken from the same aggregate. Finally, the designs of two experiments, whose purpose is to answer these two questions, are outlined and the possibility of implementation of these two experiments examined.
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Analytical method of Allen Forte and its applications
Mašková, Alice ; Pudlák, Miroslav (referee) ; Havelková, Tereza (advisor)
Present work deals with analytical method of Allen Forte which is based on the set theory. This method is a frequently used tool for analysis of atonal music, mainly in the United States. However, in the Czech musicology it is still not well known. The only property of music which is considered is pitch. In this work important theoretical and analytical studies are presented. Basic terms are explained including their evolution. Next, the work describes polemical debate reacting on Forte's texts. The debate proceeded mainly in musical journals and was concerned with the problem of determining the scope of usability of the theory, as well as with questions of too high formality of the method and also with the important problem of segmentation, which means determining smaller units as objects of analysis. Attention is paid to possible exploitation of computer programs, too. As there is no Czech terminology for Forte's theory, it was necessary to create one. Vocabulary of terms is included.
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