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A set of preparatory exercises for freestyle snowboarding and applications for athletes with visual impairment
Zvěřina, Petr ; Kovařovic, Vojtěch (advisor) ; Daďová, Klára (referee)
Title: Set of preparatory exercises for freestyle snowboarding and their application for athletes with visual impairments Objective: The main aim of this bachelor thesis is to create a set of preparatory exercises for freestyle snowboarding focused on training and improving technique. Additionally, to develop modifications of these exercises for individuals with visual impairments, enabling them to actively participate and enhance their skills in freestyle snowboarding. Methods: The methodology involved thorough literature review and in-depth interviews with four freestyle snowboarding coaches from the Czech Republic. The interviews provided qualitative data on current trends, training methodologies, and strategies. The gathered information was analyzed and coded, resulting in the creation of a set of preparatory exercises for beginners and slightly advanced individuals, taking into account the needs of those with visual impairments. Results: The results of my work revealed deficiencies in the literature on snowboarding in the Czech Republic, especially in the area of methodology for practicing freestyle tricks and training methods. I have developed specific exercises along with modifications for individuals with visual impairments, which will serve as a methodological guide for basic freestyle...
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Late works of Morton Feldman
Zvěřina, Petr ; TICHÝ, Vladimír (advisor) ; Šťastný, Jaroslav (referee)
In my dissertation, I’m trying to establish a theoretical model for better understanding of processes that occur in Morton Feldman’s late works (e.g. Piano and String Quartet, For Bunita Marcus etc.). These compositions are extremely long and not climax-oriented, we can observe „repetition“ of limited amount of musical material, there is no „general“ compositional system, musical sections can be freely interchanged or combined, acoustical qualities of tone material are emphasized. These attributes are interconnected, they are creating a specific type of „musical assemblage“ that I define as rhizomatic form (in reference to Deleuzo-Guattarian concept of the rhizome). First of all, I’m elaborating Feldman’s own texts and current studies about his music. Subsequently, I’m discussing Feldman’s compositional procedures in the context of post-war musical avantgard (The New York School, Anton Webern, Pierre Boulez and Karlheinz Stockhausen, musique informelle). Main part of my dissertation is dedicated to rhizomatic form; before the discussion of this term, I’m focusing on related topics: compositional and acoustic reality, difference and repetition, speed and intensity. I’m constantly trying to confront my findings with Feldman’s early works (e.g. Intermission 5 and 6). I’m also comparing composer’s overall attitude towards musical structure with methods and techniques of abstract expressionists (e.g. Mark Rothko, Jackson Pollock) and novelists like Samuel Beckett and Franz Kafka. Following the concept of rhizomatic form, I’m trying to analyze Feldman’s composition Patterns in a Chromatic Field for violoncello and piano.
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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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Harmonic field in Atonal music
Zvěřina, Petr ; Tichý, Vladimír (advisor) ; Matoušek, Lukáš (referee)
The harmonic field in atonal music is not easy to understand. However, I?m trying to adumbrate the theory, which can help us to comprehend some principles of this music. I?m exploring ideas of Vladimír Tichý (Harmonic Field) and Karel Janeček (The Foundations of Modern Harmony). My critical view is focus on Allen Forte?s Structure of Atonal Music. The problem of perception of atonal music is somehow based on the reciprocity of the metric structure and the harmonic material of composition. I?m analyzing the atonal music with the possibility of the segmentation of harmonic field. I clame that relationships between chords are not only based on dissonant characteristics. We can speak of thought processes, which influence the selection of harmonic material. The last chapter of this work is practical analysis of the First piano piece from Three piano pieces op. 11 of Arnold Schönberg.
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