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Composition Elements in the Work of Pat Metheny
Beneš, Petr ; HONZÁK, Jaromír (advisor) ; DORŮŽKA, David (referee)
This work deals with the analysis of compositions by Pat Metheny from his early work. The aim of the analysis is to specify individual compositional elements, to describe their role in specific compositions and to evaluate how they interact and complement each other. The output of the thesis will be an analysis of the composition intention itself supplemented by the acquired experience.
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The Barry Harris Harmonic System
Jochmann, Tomáš ; KŘIŠŤAN, Vít (advisor) ; RŮŽIČKA, Jiří (referee)
The aim of this thesis is to demonstrate a way in which professor Barry Harris approaches harmony. As an example I am using his own interpretation of compositions, where I explain, how chords and harmonic movements are created throughout Harris' improvisation. As a medium to complete my studies I mainly focused on the personal visit of his workshops as well as studying his recordings and video schools.
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Václav Clemens Žebrácký - Idea unionis musicae et poeticae (1617). Edition and analysis.
Pacala, Frederik ; Baťa, Jan (advisor) ; Horyna, Martin (referee)
The main purpose of the thesis is a commented critical edition of treatise Idea unionis musicae et poeticae written by Václav Clemens Žebrácký. The treatise is a written version of the disputation presented on 8 March, 1617 in a great hall of Carolinum. The small print (9 ff.), preserved uniquely in the Castle library in K ivoklát (shelf-mark XLIV. f. 12, extra draft 33) has not been hitherto reflected in the scientific (musicological and non-musicological) literature. Apart from the critical edition of the Clement's treatise, the aim of the thesis is to pou it in the historical context and to point out its connection with the intellectual background outside of Prague. Keywords Václav Clemens Žebrácký, Johannes Lippius, Library of Castle K ivoklát, Charles University, music theory, poetica, musica
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Hugo Riemann's Correspondence with Josef Jiránek from the Fonds of the Bedřich Smetana Museum
Vejvodová, Petra ; Ottlová, Marta (advisor) ; Hradecká, Dita (referee)
The thesis focuses on autograph letters sent by Hugo Riemann to Josef Jiránek, currently archived in the Bedřich Smetana Museum. The collection includes nine letters (two copies by Josef Jiránek), 12 postal cards and two envelopes. There are also two printed announcements (related to Riemann's 60th birthday.) Apart from addressing the theory of phrasing, Riemann's letters reflect upon theoretical and teaching treatises by both Riemann and Jiránek. The letters served as an invaluable source of information for Riemann's fundamental piece of work, the Musik-Lexikon. The objective of the thesis is to duly transcribe, summarize and comment on the correspondence which has received little attention by scholars so far.
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Playing as a tool to motivate pupils in musical and educational classwork in elementary school. Games with music theory in classes with extended teaching of music lessons
Dvorníková, Lenka ; Váňová, Hana (advisor) ; Hurníková, Kateřina (referee)
The thesis deals with the use of musical educational games in teaching music theory. The theoretical part explains some general concepts such as game, activation, or the child's personality. Text is based on the history of education, highlighting the views of famous philosophers, doctors, teachers, psychologists and other thinkers, who focused on child's play and the personality of the child. This part of the thesis also presents ways how to work with music playing in the singing, listening, instrumental and musical movement activities, according to some contemporary music teachers. The research focuses on experimental teaching with application of games with music theory, which were specially developed by the author. The research subject is the student and his involvement in activities that help with music theory teaching. The study identified some sub-goals: Discover the impact of educational games for pupil's activation and their participation in experimental teaching music education. Discover pupil's experiences from the game and checking the effectivity of the learning. Determine to what extent the didactic game affect the student's interests to learn music theory to alleviate the fear of poorly understood subject matter. The research verifies the set hypothesis. Although the research results...
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Josef Jiránek in the light of the Prague's archive sources
Křivský, Václav ; Ottlová, Marta (advisor) ; Gabrielová, Jarmila (referee)
The thesis focuses on virtuoso pianist, teacher, musical theoretician and composer Josef Jiránek (1855 - 1940). The thesis draws from Josef Jiránek's own estate, as well as resources kept at various archive institutions in Prague. It underlines Josef Jiránek's merit as regards the art of the piano and piano education in particular, while emphasizing Hugo Riemann's influence on his music-teaching as well as theoretical ideas. In the light of the Prague resources, Josef Jiránek may be viewed as a follower of the traditional interpretation legacy of Bedřich Smetana. Nonetheless, by further elaborating Smetana's legacy from a purely scientific perspective and with his analytical and rational approach to piano work, Josef Jiránek had indeed largely contributed to the development and evolution of piano education and piano reproduction art - regardless of the fact that his ideas and methods were later overcome. The objective of this thesis is to open a gateway that would attract greater attention of musicologists to Josef Jiránek, who has been on the periphery of their interest and whose true picture remains hidden under the label "Bedřich Smetana's pupil".
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Using concertante principle in works by Alfred Schnittke
Fila, Jan ; RIEDLBAUCH, Václav (advisor) ; FILAS, Juraj (referee)
Concertante principle is one of the compositional technic that goes along in the western music
for more than four hundred years. Basis for this historic techniques are used until now. For
researcher arises the question: Exists the concertante principle in the newer musical literature,
or merely is a relic of the distant past? In the last few decades has been one of the strongest
personalities, who dealt with the using of the concertante principle, the Russian-German
composer Alfred Schnittke, who wrote several dozen concertante works. In music history
after the Second World War, we can hardly find any another person that would be dealt with at length this genre. The aim of this thesis is to examine in detail, how the composer treated
with this technique if used only historically given compositional techniques, or innovatively
replaced. As a method of investigation was chosen analysis of large amounts of scores, on
which there is evidence Schnittke use and targeted using of concertante principle.
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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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Introduction to the study of jazz music
Bogišová, Lucie ; KREJČA, Tomáš (advisor) ; Levíček, Jiří (referee)
This bachelor’s thesis is deals with the terminology and basic harmonic phenomenons in the area of jazz harmony. It’s target is a brief and outlining insight into the harmonic part of music, which we come across more often every time, meeting harmony by itself but also across all musical genres, „classical“ music included. It’s main goal is to show to the artists of „classical“ music the basic phenomenons that are characteristic for jazz harmony. The work is divided into four chapters (The chord, Writing of compositions, Basic building material and the Harmonic movement). The benefit of this work is especially the comparison of specific harmonical phenomenons of jazz music with identical (related) phenomenons in classical-romantic harmony. The work is for a good overview replenished with some practical note examples.
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