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Using compositional techniques in the work of Ligeti as a source of inspiration for my own compositional work ( focusing on piano music)
Vetchá, Soňa ; KURZ, Ivan (advisor) ; RIEDLBAUCH, Václav (referee)
This bachelor’s thesis deals with the issue of Ligeti’s compositional techniques in general and with special focus on his piano works in periodical manner. Thesis contains analyzes of piano works, mainly Musica Ricercata and selected Piano Etudes, compares Musica Ricercata and Bartók’s Microcosm to which whole chapter is assigned later in this work. Thesis also mentions the importace of Ligeti’s work in Cologne and his acquaintance with key figures of the European avant-garde of that time, with Karlheinz Stockhausen in particular.
At the end of this thesis we adress author’s own bachelor composition Dream for piano and chamber orchestra, which in some ways uses the same techniques Ligeti used in his piano etudes.
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Specifics of Compositional Thinking in Contemporary Estonian Music
Dřízal, Jan ; BARTOŇ, Hanuš (advisor) ; DUŠEK, Jan (referee)
Bachelor thesis Specifics compositional thinking in contemporary Estonian music
aims to cover the information gap in the field of Estonian cultural sites within the
Czech Republic, focusing on naming the general characteristics of the individual
compositional aesthetics last five decades. In the first section, the text focuses
on the cultural and historical aspects of Estonian territory, including linguistic,
ethnic and folklore specifics. The second section seeks to map the common
features of modern compositional thinking and seeks their origin in folk music, in
particular experiencing nature and religiosity. The third section contains
a detailed analysis in many respects a significant composition of Estonian Veljo
Tormis Raua needmine, which I try to substantiate its previous premises.
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Isang Yun and his works for oboe
Moťková, Kamila ; BROŽKOVÁ, Jana (advisor) ; SEQUARDTOVÁ, Liběna (referee)
Isang Yun and his works for oboe is a title of this master thesis. It introduces a personality of a Korean composer Isang Yun and it focuses on his works for oboe. The first chapter contains resumé of principal moments of the composer´s life. The next chapter briefly touches characteristics of traditional Korean music, how the western culture is displayed in the Korean music, what is its influence on the Korean music and their inosculation into each other. The following chapter has an aim to introduce the biggest inspirational element in Yun´s life - the philospophy of Taoism. The fourth chapter describes a compositional style of Isang Yun in which elements of both different cultures combine in a unique way. In this chapter one fractional subchapter is also introduced where an insight into a few compositional techniques of the composer and an approach of audience to Yun´s music can be found. Final chapter contains analysis of eight compositions, which Isang Yun wrote for oboe Piri, Doppelkonzert for oboe and harp, Inventionen, Rondell, Images, Quartett for oboe and strings, Bläserquintett and Bläseroktett.
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Karlheinz Stockhausen and The Beatles
Hejl, Matouš ; RATAJ, Michal (advisor) ; TROJAN, Jan (referee)
The text proposes to describe the relationship between Karlheinz Stockhausen and the work of The Beatles in the late sixties regarding especially their album Sgt. Pepper s Lonely Hearts Club Band. It compares how they worked within the same technnical system and it shows changes that occured in music with the conception of studio as a musical instrument. On a more general level, one theme of the text is the difference between so called serious, or avantgarde music and popular music. Through comparing the way Stockhausen and The Beatles approached a few selected aspects of music making, it presentes them next to each other rather than against each other. Another general theme is the relationship between technical inovation and music creation.
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Vstupování nehudebních prvků do hudebních struktur
Cílková, Eliška ; RATAJ, Michal (advisor) ; TROJAN, Jan (referee)
Since the beginnings of musical art, composers have been reflecting on the social topics of their time. We can mention the great industrial revolution and Honneger's composition inspired by the Pacific 271 steam locomotive. Radioactive decay is one of the basic phenomena in the universe thanks to which our Earth is kept in balance. The first part of this work deals with a brief history and current trends in working with numbers as well as with generative music and reflections of the natural environment in music. The second part explores the history of radioactivity in conjunction with music and presentes a few examples of direct evidence that throughout the history of music, radioactivity has already been dealt with by composers. It also outlines a possible linkage of the two themes and refers to the art form of soundscape. The third part describes scientific measurements and shows on a few specific musical examples the practical possibilities of using radioactive data in compositional practice.
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Reflextion of technologies of electroacoustic music in vocal and instrumental music
Lukeš, Jiří ; RATAJ, Michal (advisor) ; BARTOŇ, Hanuš (referee)
The present text of the thesis discuss the technology and its impact on the composer's compositional work . Current music scene we called artificial music in principle pervades the world of acoustic sound to the world of electroacoustic sound, which is a major field of researches of art music for several decades.
Continuous development and improvement of the technologies in the context of better accessibility in practice means increasing infiltration of technology solutions to the triangle composer - performer - listener . The main focus of the text consists of analytical probes into the current technological solutions and their subsequent contribution to the work of the composer. Technology can play a role of analyse, interpretation, and indirectly also compositional realisation. The knowledge gained in electroacoustic techniques then embedded in the context of acoustic compositional techniques , resulting in many times possibilities for classification of sound through different optics. An important role for the sound still plays a space. The work deals with the meaning of the word space both in terms of architectural design , and the view of possibility to create virtual space. The penultimate chapter gives the reader an insight into the field of generative music through the project Mysticism fragrance. Final text summarization aims primarily to identify and map out possible solutions for composing in the context of the technologies which we can use today .
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The Human Voice in Selected Examples of Works by Arnold Schönberg
Švarcová, Terezie ; RATAJ, Michal (advisor) ; DUŠEK, Jan (referee)
The human voice holds a significant position in works of Arnold Schönberg.
My dissertation focuses on the use of a voice technique, the so-called Sprechstimme (Spoken-voice) in the musical piece Pierrot Lunaire, op. 21 (1912). I confront the term Sprechstimme with the term Sprechgesang (Spoken-singing) in the very opening of my study. In addition, Schönberg's use of human voice in the pieces written before Pierrot, are briefly mentioned. I am peripherally exploring the other melodramas written by Schönberg, namely Ode to Napoleon Buonaparte, op. 41 (1942) and A Survivor from Warsaw, op. 46 (1947) at the conclusion of this dissertation. I am clarifying why the author has chosen this type of voice technique and also where it is used in musical and aesthetical contexts. I explain the term Sprechmelodie (Spoken-melody) in the area of analysis and focus on the composer's approach to the text material in the ambit of rhythmical component, articulation, dynamics, agogic and the verbal directions for the narrator. Sprechstimme represents one of two fundamental composers approaches towards the human voice and becomes some sort of parallel to the purely vocal composition attitude during the composition time.
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On the Question of transcendent Time in Music
Míšek, Jakub ; TICHÝ, Vladimír (advisor) ; MATOUŠEK, Vlastislav (referee)
The concern of this thesis is the relationship between music and time, more precisely a specific kind of temporality, which is known as transcendent, sacred, sacral or "the third" time. This text is meant to be an introduction into the subject matter. At first the relationship between musical and non-musical time is discussed. Then the phenomenon of transcendent time is put into the relationship with theories of musical time presented by other, both Czech and foreign, authors. The last part of this paper contains an exemplary listing of composer strategies which can help in inducing an experience of transcendent time. These strategies are demonstrated on songs and compositions originating in different genres and cultures.
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Theological Mysticism and Symbolism in the Piece "Méditations sur le Mystere de la Sainte Trinité" by Olivier Messiaen
Salvová, Pavla ; POPELKA, Josef (advisor) ; TŮMA, Jaroslav (referee)
The general attribute of Olivier Messiaen´s music is not only his specific musical language, which experiments with time, rhythm, colour, finds inspiration in birdsong, Gregorian chant and music of the exotic lands, but mainly the existence of a non-musical message. The first part of my thesis is introductory. It includes the description of Messiaen´s life and early musical influences, the nature of his musical style, his general musical aims, and an overview of his most important works. In the centre of my effort is the thematic analysis of Messiaen´s late organ cycle Méditations sur le Mystère de la Sainte Trinité (Meditations on the Mystery of the Holy Trinity). That is preceded with an introduction of the background of the piece, sources of inspiration and symbolism used. The main aim is to explore the complexity of Messiaen´s musical and thematic thinking, and to understand the message of the musical material.
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New music Styles of 20th Century in Relation to contemporary fine Arts
Drtina, Štěpán ; PETRÁŠ, Miroslav (advisor) ; BERNÁŠEK, Václav (referee)
This work focuses on possible relations between music and fine arts in the beginning of the 20th century. It offers possibilities of comparsion of different kinds of art from the aesthetical point of view, it looks for common subject of both the kinds of art, gives specific examples of works which are affected by the other kind vice versa. It tracts the most important styles and trends which arose in the music and fine arts in 20th century and discusses their similarities. The rest of the work is dedicated to specific cases where the both arts meet on one place in one moment - group of fine arts Mánes and the team of composers around it, group of Russian ballets of S. Dhagilev and the phenomena of colour music and its realisation, mainly in the work of Zdeněk Pešánek.
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