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Rejcha`s treatise Ueber das neue Fugensystem
Havlíček, Vít ; Tichý, Vladimír (advisor) ; Havlík, Jaromír (referee)
The subjekt of this work is the musical theoretical treatise of Antonin Rejcha Ueber das meue Fugensystem. This thesis contains a fascimile of this theoretical work, a diplomatic re-write from gothic letter to modern type, a czech translation and a critical commentary of Rejcha`s work. Another part of the thesis is an analysis of the themes and expositions of Rejcha`s 36 fugue cycle for piano, which closely relates to the presented theoretical work.
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Database of the concert halls in Prague
Koutná, Kateřina ; Štilec, Jiří (advisor) ; Bělor, Roman (referee) ; Havlík, Jaromír (referee)
This thesis is documentation for a practical project of the "Concert halls" database which is published on the internet at www.prehled.net/koncertni-saly. The purpose of this work is to create a tool helping the organizers of musical performances to find suitable site for their art projects. The database contains technical details of concert places in Prague and some of the concert halls in other Czech regions and allows the user to search according to different parameters. Besides the project documentation there is also a section concerning the comparison of parameters of prominent music halls in the Czech Republic.And towards the end you will find a list of unconventional concert places in Prague.
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KINKO HONKJOKU Importance of Timbre for musical structure
Bidlo, David ; Havlík, Jaromír (advisor) ; Matoušek, Vlastislav (referee) ; Jurková, Zuzana (referee)
Up to now, analyses of shakuhachi koten honkyoku accentuated mainly the melodious component of musical structure. However, a no less important component of the musical structure of all Japanese traditional music is by all means also timbre (tone quality). In my research of the timbre of shakuhachi, I combined three major methodological approaches: Ethnomusicology, Music Theory and Music Acoustics. The ethnomusicological approach wascharacterised by close orientation on one interpretation tradition within the framework of the Kinko School, the Chikumeisha Goro Yamaguchi´s tradition. The positions of music theory appeared mainly as a result of deep structural analysis, which made it possible for detailed description of the musical structure oriented on the appearance of concrete playing techniques and their application to the individual phrases of each of the honkyoku compositions. Within the scope of musical acoustic approach, we jointly with colleagues from the HAMU sound studio did a series of spectral analyses of two matrices of shakuhachi basic tones and some playing techniques. The matrices were recorded by Vlastislav Matoušek and Christopher Yonhmei Blasdel. The spectral analyses fully confirmed the changes of timbre of the shakuhachi in Kinko honkyoku.
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Theory of the Affects (Baroque Doctrine of the Affections)
Georgieva Ivanova, Sylvia ; Havlík, Jaromír (advisor) ; Tichý, Vladimír (referee) ; Godár, Vladimír (referee)
The theme of my dissertation is the Baroque Theory (Doctrine) of Affects, one of the main pillars of the Baroque perception of music and art. It is a theoretical system that is generally not only applied to the music of the Baroque era, but in many aspects as well for the following period of Rococo and Classicism until the Beethoven´s creative era. The Doctrine of affects is based upon the cohesion of human thinking and feeling on one hand and the natural order on the other hand. It has been derived from the concept od the world order being created as a perfectly functioning system including both the rational as well and irrational - as the two different aspects of human being. The thesis is based mainly on period sources and literature that served not as supplementary material but also as core resurces. Therefore translations of period documents up to now missing in the Czech musicological and aesthetic literature have been submitted because they are very important to for comprehending the essence of the Doctrine of affects and the period tendencies to allocate affects to musical devices. The texts represent the angle of the view, the inseparability of art and science as well as the Baroque concept of the human personality as a harmonic accord of the soul and body. All of this on the beel overlaid on the social situations and aesthetic perceptions of the time. Even today, one is surprised by the scope of detail to which period musicians and theoreticians had everything clarified, explained and documented from the historical, musicological and even physiological sources of the time. It is within this context that this thesis has been developed bringing to light not only an explanation of the notions of affects and the differences involved in their classification and systematization, but also their depiction by musical and rhetoric figures in the practices of composition and interpretation in which the impact of affects in music played its role for the audience then as well as today. Accordingly, the assortiment and assembly of the the audio exemples have become an integral part of this dissertation. As Jean-Philippe Rameau said, the truth of music and of the musical expression derives primarily from the music itself!
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