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Chromaticism of brass musical instruments in the first half of the 19th century, instruments fitted with a key mechanism.
Rouček, Jaroslav ; REJLEK, Vladimír (advisor) ; HAVLÍK, Jaromír (referee)
In my thesis I have tried to describe the brass instrument chromaticism process by means of covering the corpus by hand and especially by applying a key mechanism. I have dealt with the first sources, discoveries and experiments which preceded the spread of keyed brass instruments. I worked closely with the personages Anton Weidinger and J. L. Kunerth, who were considered as first inventors of the keyed trumpet. I have formulated a hypothesis concerning the identification of lost compositions for the keyed trumpet by J. N. Hummel, including the reconstruction and a practical example of the Quartet in E Major. I have discussed methodologies of playing the keyed trumpet and collected responses from the contemporary press concerning the use of the keyed trumpet in concert life in this period. I have created lists of detailed information on the traditional keyed trumpets and their literature.
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Marimba evolution and present use
Sokolov, Oleg ; MIKOLÁŠEK, Daniel (advisor) ; HAVLÍK, Jaromír (referee)
The focus of my disseraion is to proces s essential information about the marimba. Due to the fact that there is putrid informaion available about the marimba in the Czech language, I decided to undertake the task of filling in this void with my thesis. The contents of the paper include a succinct and clear history of the musical instrument, followed by main information regarding the top marimba manufacturers, and most notable modern day performers. The work is divided into three major chapters , which are further divided into subsections , together with footnotes and video attachments at the end of work.
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Nebojša Jovan Živković - life and work
Vytiska, Miroslav ; Mazourová, Markéta (advisor) ; Havlík, Jaromír (referee) ; Honda-Černochová, Junko (referee)
This bachelor´s thesis is focused on Nebojša Jovan Živković, very important serbian percussionist and composer. My thesis is concerned with leading light of Nebojša Jovan Živković, his work of solo and chamber music. This is my own estimation of Živković. He is for me one of the best percussionists and composers in the world.
In my bachelor´s thesis is possible to find CV of Nebojša Jovan Živković, brief interview and characteristic of some his pieces. In the end I speak about his band Jovan Percussion Projekt and its full members.
There is also view of his compositions.
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Presentation of E. W. Korngold in Czech Republic
Fišer Silkenová, Lucie ; Havlík, Jaromír (advisor) ; Štilec, Jiří (referee)
The present thesis deals with the presentation of composer Erich Wolfgang Korngold
and his work in the Czech Republic. Introductory chapters are devoted
to the composer's life, first in Bohemia, later in the United States, it also analyzes
his musical work and its benefits. The following chapters are focused on practical
presentation EW Korngold in the Czech Republic with a view to placing the history
of his works (symphony orchestras and opera houses in CR, Czech Radio
and Czech Television). Great chapter consists of mapping the rare important projects
associated with EWK and insight into the present (Korngold Quartet, the world's
symphony orchestras, opera theaters, celebrations in 2012 ...) The conclusion
summarizes the main problems of planning and promotion of cultural projects
with a view to promoting personality EWK.
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FINANCING CULTURE FROM THE PUBLIC SOURCES
Koutná, Kateřina ; Štilec, Jiří (advisor) ; Havlík, Jaromír (referee)
Aim of thesis "Financing Culture From The Public Sources" is to examine the field of public funding in the arts and culture: not from its practical point
of view (e.g. presenting the sources) but to introduce its general mechanisms. The main part of the work represents an overview of polemics showing supporting and discouraging arguments for or against public funding. The summarizing analysis shows that, in such complex topic, there is no definite impartial answer which would not depend on the speaker´s point of view.
This is why the second part is dedicated to plain comparison of the public funding in relation to the range of the art participation among the citizens in three countries of different social-political backgrounds ? and thus different levels of public funding in the arts (Czech Republic, Netherlads, United States of America). This closing comparison should provide a final answer to everybody who at least agrees that arts and culture are desired.
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Reicha´s conceptualization of the fugue
Havlíček, Vít ; Tichý, Vladimír (advisor) ; Havlík, Jaromír (referee)
The subject of this work is the fugue as conceptualized by antonín Rejcha. Rejcha discusses the new fugue system in his two volume work Traité de haute composition musicale. In this work I pramarily focuss on the the second volume. Besides a translation into czech, I present a ciritical comentary of this work and subsequently I compare the two volumes from varying stand points, by which I show the conceptual development of Rejcha in the domain of the fugue.
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A solo instrument and the orchestra (with a spe-cial heed to the keyboard instruments)
Hejnar, Robert ; Kurz, Ivan (advisor) ; Parsch, Arnošt (referee) ; Havlík, Jaromír (referee)
Robert Hejnar´s dissertational work A solo instrument and the orchestra (with a spe-cial heed to the keyboard instruments) deals with the problems of the relation and the instrumentation of a solo instrument and the orchestra. Decisive criteria for the in-strumentation of a solo instrument and orchestra are named in the opening chapters of the work; it is done from the viewpoint of acoustic parameters (with the use of the categories of basic tone attributes), types of instrumental concerts and delimitation of the aspects of relation and function of the solo element and the supporting orchestral element. In the conclusion of the work, there are outlined untraditional instrumental techniques for the particular instruments of the main orchestral sections and the key-board instruments which are usable in the instrumentation of the composition for a solo instrument and the orchestra in the view of their dynamic, timbral and technical specifics, including other perspectives of the development of the instrumental concert as a formal whole. It is done on the basis of the frame analysis (with an accent on the form and the tractation of a solo instrument, the orchestral setting and the vocal imagination of the piece) and the following comparison (from the viewpoint of the ty-pe, the form, the element of the cadence, the tectonic ambivalence, the relation and function of a solo instrument and the orchestra) of the representative 20th-century concert pieces (K. Penderecki: Flute Concerto, for flute and chamber orchestra, A. Parsch: Symphony-concerto for horn and orchestra, S. Gubaidulina: ?Offertorium? ? concerto for violin and orchestra, S. Prokofjev: Piano Concerto No. 1 in D-flat major, Op. 10, L. Fišer: Concerto for piano and orchestra, B. Martinu: Harpsichord Concerto, for harpsichord and small orchestra, V. Riedlbauch: Concerto-battle for organ and orchestra).
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Imptortant Chambre Copositions in the Violine literature of the 2nd hlaf of the 20th century
Veverková, Anna ; Messiereur, Petr (advisor) ; Havlík, Jaromír (referee) ; Čermák, Lubomír (referee)
The conception of my disertation thesis is foccused on The important chambre
compositions of the violin literature of the 2nd half of the 20th century. The conseption
of my thesis is intendet on seven chapters. The first is about the developement of the
violin sonata and its modification in the climatics works of present. The next two
chapters deal with two solo violin pieces by L. Berio and P. Boulez, focussed on the
intepret´s view. The second thematic unit is about new recourses in the instrumental
combination of violin and piano, in which I foccused on the important chambre music
works by A. Schnittke, G. Crumb and I. Xenakis. The third thematic sphere is about
chambre compositions of the nontraditional instrumental conflation. After this chapter
I speak about the most interesting composition of the nontradtional conflation, which
is G. Kurtág´s Kafka Fragmente op. 24 for soprano and violin. The last chapter
represents concrete using of the new technical possibilities of the string instruments.
The two main works are composed by H. Lachenmann and T. Murail.
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Percussion in the 21. century
Andrlová, Klára ; Mikolášek, Daniel (advisor) ; Havlík, Jaromír (referee) ; Kopelent, Marek (referee)
In my bachelor thesis I would like to concentrate on several compositions dedicated to drum set-ups. This musical area do not have proper audience and are rather less common by this time in The Czech Republic, but I think that pieces written for drum set-ups may have huge audience and be performed in huge auditoriums as well as pieces written for any other ?common? instrument. For supporting my claims I chose two composers ? american composer David Lang and a dutch one - Michel Van der Aa. In my thesis I will try to analyze several pieces by this authors and also to point out some particular problems which can occur during the rehearsing. For there are no czech materials concerning this topic, I will draw mainly from my own experiences with those pieces and also from experiences of my colleagues ? students and professors from music schools.
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