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Compositional Problems of Concertant piano after 1950
Dušek, Jan ; Bartoň, Hanuš (advisor) ; Filas, Juraj (referee)
This bachelor?s thesis is based on idea that piano stylization elements used in concerts of second half of 20th century in the base come out of the classical and romantic periods. After briefly chapter describing a history of piano concertos with main focus on progress of often used elements, there are analysis (focused on a piano stylization) of four Czech and four world?s concertant pieces. Conclusion is a summary and a comparation of realized facts.
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Microtonal Harmony As Derived From Complex, Inharmonic Sound Spectra
Nicholas, Michael ; Loudová, Ivana (advisor) ; Bartoň, Hanuš (referee) ; Pudlák, Miroslav (referee)
This paper presents my recent research into a new source of microtonal pitch materials, namely woodwind multiphonics. By incorporating the intervallic and sometimes also dynamic relationships of these complex, inharmonic sound spectra, I have "doscovered" an exciting new source for instrumental timbres and harmonies. After a brief history of microtonality, as used in Western Art Music, and of some of its major advocates, I will define some important terms and then distinguish my research from that with which other contemporary composers are currentlyengaged. Following this introduction I will explain what led me to my choice of this topic and demonstrate how I went about my research, presenting and explaining the results of this research and how I used these results while composing my Bachelor´s composition, Inferno per orchestra (2005-6). Finaly, I will suggest some possible ideals for further exploration.
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Electroacoustic Music and Selected Concepts of Radioart
Rataj, Michal ; Slavický, Milan (advisor) ; Bartoň, Hanuš (referee) ; Parsch, Arnošt (referee) ; Vojtěchovský, Miloš (referee)
The main purpose of the present thesis is to search for ways of methodological orientation within reflection of electroacoustic music, seen through the prism of what has been recently called acoustic arts. The way we try to formulate such positioning deals with particular methodological tasks: we try to generate space in which it is possible to think of ?artistic discourses? within acoustic arts; subsequently, the thesis describes the specific discourse of electroacoustic music/ radioart, explaining it from the viewpoint of the Czech radio-art producer. The first part of the thesis gives an account of the general atmosphere of electroacoustic music reflection (mainly referring to the German theoretical context); while doing so, certain points has been found problematic, namely the tendencies to use the term electroacoustic music in order to signify the multitude of contemporary technology- and media-based art practice. What we try to propose is a sort of progression within such musicological and artistic reflections: let us think of electroacoustic music in terms of its ? mainly ? historical category of the 1950s?1960s period, which can be described in relatively consistent terms of music avant-garde, as well as of new means of technology- and media-based music arising, more or less, from the Euro-American tradition of musical thinking. Thus, the very free, ?interactive? and discursive space of acoustic arts might be revealed (in terms of artistic statements trying to emphasize the ?auditive? in contrast to the visual), which electroacoustic music ? in its historical sense ? is a part of. Having formulated such methodological and reflective points of view, we can proceed to the topic of radio art itself. From the very beginning, the main inspiration for such topic orientation has been our production activities within Czech Radio that have dealt with the experimental Czech radioart scene. First, we present selected concepts of radioart and contemporary production practices, focused on European public service radios, drawing on our personal work experience in such an international institutional frame.
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INSTRUMENTATION ? IDEAL SOUND AND EXPRESSION
Štědroň, Miloš ; Riedlbauch, Václav (advisor) ; Bartoň, Hanuš (referee) ; Parsch, Arnošt (referee)
In my thesis, I was trying to deal with the aspects of instrumentation that
primarily concern not only the sound concepts, but that are also influenced by
other, extra-musical aspects. Given the breadth of the topic, I focused only on
analyses of the twentieth century´s music, on instrumentation methods of
Leoš Janácek and Bohuslav Martinu in particular. Analyses of two concrete
works by Alfred Schnittke and Arvo Pärt are in my opinion a typical example of
stratification of musical thinking in the second half of the twentieth century. A
twentieth or twenty-first century composer does not think about
instrumentation in a purely musical context any more, he can create a whole
scale of meanings and hidden messages. In this I see the mission and sense of
contemporary music. That is not to stagnate in the area of satisfying of ideal
sound concepts, but to reflect not only the impulses from other branches of
art, but also social and historical contexts.
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Dramatic Efficiency Of Contemporary Compositional Metohods In A Present - Day Opera
Ivanovič, Marko ; Bartoň, Hanuš (advisor) ; Riedlbauch, Václav (referee) ; Nekvasil, Jiří (referee)
The present work would like to introduce a rare interdisciplinary look on opera. The work deals primarily with the technical aspect of compositional processes. However, it also analyses the function of these processes within the scenic context while taking into account the viewers? perception. The term ?opera? is defined as an artificial genre between melodrama and oratorio and also includes works related to opera, even though their inclusion among operatic works might seem problematic. The work considers most important opera works created in the second half of the 20th century which have been chosen so as to cover the widest style range possible by composers L.Nono, K.Stockhausen, B.Maderna, G.Ligeti, A.Schnittke, P.Glass, S.Reich and others. The first two parts are dedicated to the selection of a basic research method. J.Jiranek and O.Zich?s semantic method is used as the basis for the study of the ability of music to communicate. The effect music has on listeners is then evaluated based on the Steffani theory of musical competence. Special attention is paid to the specific situation of contemporary listeners and their perception of the characteristics of the relation between music and drama. The main body of the work is divided into two parts. The first part deals with selected compositional methods and styles and it attempts to point out the specifics and differences of their respective relations to drama. The selection is restricted to serialism, aleatoric and timbre music, polystylism and minimalism. Each of the mentioned compositional methods has its own characteristics and each provides different possibilities of interaction with dramatic texts. The second part analyses contemporary thematic frameworks based on contemporary opera. The analysis often elaborates on findings from previous chapters of the paper. This part mainly considers the contemporary attitude towards vocal parts, today?s libretto and ways it is musically elaborated upon. This part of the paper also provides an analysis of the application and the shift in meaning of the term ?leitmotif?. To conclude, the work attempts to summarise the findings and provide some general theses. These are, in essence, based on the realisation of the broadness of possibilities brought to opera by theatrical and musical development during the last couple of decades. The paper ends with a reference to the possibilities of the functional relation between the scenic and the musical which have not yet been applied. The work also wishes to serve as a contribution to the development of musical-scenic genres expected in the near future.
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SOUND COLOUR AND ITS FUNCTION IN MUSIC COMPOSITION CONSTRUCTION
Hořínka, Slavomír ; Bartoň, Hanuš (advisor) ; Slavický, Milan (referee) ; Bláha, Ivo (referee)
In my dissertation Sound Colour and its Function in Music Composition Construction I
am trying to find new point of view on the situations, when sound colour is
becoming an active element. Fundamental factor in selection of concrete
compositions is hierarchy in construction (its presence or contingent abstention).
I am using a triad of terms as a methodological instrument ? Dynamic culmination,
Tectonic centre and Tectonically-dynamic culmination. *ey are specified in the 2nd
chapter. Dynamic culmination relate to the dynamic behaviour, tectonic centre
relate to the hierarchy in construction and tectonically-dynamic culmination is
incorporation of these two in the same time. Crucial term in my dissertation is
centre. Such I read as a part of musical structure, which is more important than
other parts, in light of perception. By this way the centre is structuring musical
stream in time hierarchically. In analysis I am dealing with sound colour function
in less common construction solution, in term of dynamic behaviour and
hierarchy. *ey include cases when: Composition has tectonic centre, which is not
identical with dynamic culmination; Composition is constructed as an arch, but
without tectonic centre; Composition has several dynamic culminations but no
tectonic centre; Composition has no dynamic culmination, but other tectonic
centre; Composition (or its part) is constructed as inverse arch, i.e. descend to the
rock-bottom and backwards; Composition has neither no dynamic culmination or
tectonic centre. In conclusion I am concerning with retrieved information in more
universal context. *us leads me to the question of hierarchical structuring
during musical perception and other wider incidence aspects of construction
conceptions mentioned above.
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The use of improvisation in classical music
Košnarová, Zdeňka ; Filas, Juraj (advisor) ; Bartoň, Hanuš (referee) ; Bílý, Antonín (referee)
After a short introduction the concept of improvisation is defined and the thesis traces its development, forms and possibilities from the beginnings of music itself to the second half of the 20th century. The early beginnings of the development are captured in a brief summary. The explanation of the concept of jazz and basic types of jazz improvisation follows. The last - third - chapter deals with improvisation inartificial music of the second half of the 20th century, particularly the aleatory music and the so called improvised music. The thesis concentrates on the improvised music phenomenon in detail. Several subchapters explain the relation between improvised music and composition, space, visual arts, written scores, and the usage of traditional and nontraditional musical instruments in this music, and also form, feedback system and the improvised music reduction. The conclusion of this thesis reflects the use of improvisation in an original composition.
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