|
|
Numerický systém v elektroakustické hudební kompozici se zaměřením na numerické systémy starověké Číny Yin Yang a Wu Xing
Wan, Yuk Bun ; RATAJ, Michal (advisor) ; MRKVIČKA, Luboš (referee)
Tato práce se soustřeďuje na výzkum různých numerických zařízení starověkého čínského číselného systému, jako je sekvence Wu Xing a související funkce, za účelem generování různých kompozičních materiálů pro hudební složení podle výsledku trigramu (Gua / 掛).
Mým celkovým přístupem je vyvinout metody, které nám dávají svobodu volby různých kompozičních materiálů, protože můžeme generovat velmi odlišný kompozitní materiál, jako jsou váhy a akordy, výsledkem Bagua (八 掛) místo operace změny Johna Cagea, Který pouze splňuje určité výsledky, generalizuje celý kus automaticky. Proto můžeme vybrat nejvhodnější materiály pro hudební kompozici a lépe řídit kompoziční proces. Uvedené prvky jsou velmi jednoduché; Nicméně, numerické vztahy mezi nimi mohou být velmi složité. Přestože to nabízí atraktivní potenciál pro jejich použití při tvorbě nových kompozičních materiálů, musíme vyřešit komplikaci procesu a vyhnout se chybě výpočtů. S odkazem na tento problém můžeme použít několik způsobů, jak správně přispět k procesu generování: Aplikace počítače pro výpočet, zabránění použití složitých vzorců v systémech a křížová kontrola jinou osobou.
|
|
| |
|
|
Randomness in music: an overview of the current possibilities
Dos Santos Agostinho Filho, Gilberto ; MRKVIČKA, Luboš (advisor) ; RATAJ, Michal (referee)
Randomness has become an integral part of the contemporary composer's technical pallet. From trivial dice rolls to complex stochastic systems, there is an enormous amount of different methods that can be used in order to apply randomness in music: the results of simple coin tosses can be translated into any sort of binary data (e.g. note/silence), probability distributions may be use to control musical parameters or even musical form, Markov chains can be used to generate the path which a composition will take, etc. To emphasize the importance of these indeterminate techniques, this work will first take a historical look on randomness in the 20th century music, puncuated by relevant musical examples. These techniques are then discussed from a contemporary point of view, focusing on their relevance for the music today, dealing both with acoustic and electroacoustic music, generated with or without the aid of computers.
|
|
|
String Quartet and Orchestra
Wiesner, Martin ; HOŘÍNKA, Slavomír (advisor) ; MRKVIČKA, Luboš (referee)
This bachelor's thesis deals with connection of string quartet and symphony orchestra. On the grounds of analyses of two selected compositions examine different compositional approaches. There were two compositions analysed. Morton Feldmans String Quartet and Orchestra, and Wolfgang Rihms "CONCERTO" Dithyrambe. Analyse focuses on different aspects such as form, selection of tone pitches, rhythm and dynamic process.
|
|
|
Algorithmic Methods for Generating Acoustic Music
Dos Santos Agostinho Filho, Gilberto ; MRKVIČKA, Luboš (advisor) ; RATAJ, Michal (referee)
Systematic compositional techniques have been used throughout the history of Western Music, but it was the advent of the personal computer that made algorithmic composition a common reality in the contemporary music scene. The post-war period witnessed the development of several new types of compositional techniques, such as the use of chance, stochastic models and numeric series, all of which heavily influenced the development of computer music. The three main types of computer algorithms used for producing music, i.e. the rule-based, stochastic and artificial intelligent algorithms, are to be analysed. The focus of the present work will be on the algorithmic creation of acoustic musical works, particularly via the automatic generation of musical scores, and the aesthetic consequences of this kind of approach.
|
|
|
The Bass as a Manifestation of Periodicity in Music
Esterle, Vojtěch ; MRKVIČKA, Luboš (advisor) ; HOŘÍNKA, Slavomír (referee)
This paper defines the function of the bass as the basis of harmonic hierarchy at first. After that the different forms of the bass in particular
periods of time are followed. Then the problem of suppressing a bass in avant-garde music of the 20th century is brought forward; its new comeback is found in the minimal and the spectral music. The thesis is based on the concept of the affinity of principles which are responsible for the harmonic and the rhythmic hierarchy; this is the reason why the bass function can emerge also in a form of the rhythmic pulsation.
|
|
|
The influence of verbal presentation on musical perception
Esterle, Vojtěch ; Mrkvička, Luboš (advisor) ; Rataj, Michal (referee)
Various structures of contemporary music put high demands on the listeners. Often, a composition is based on the principles that could be barely recognizable by listening. This study examines whether the verbal presentation helps the listeners with perceiving of music. Three groups of twenty respondents had to listen three compositions with three different verbal presentations (imaginative title, structure title, neutral title, analysis). The captivation of the listeners was compared, the evaluation of fulfilment plan and other issues. The results showed that evocation of visual and dramatic ideas was independent to the verbal presentations. Evaluation of compositions also showed the independence on the type of title or on the analysis. However, it does not mean, that the verbal presentation does not influence the perception of music. Qualitative scale questions revealed, that the effect of the name and analysis on listening was very profound. The previous acoustic experience has a far greater influence on the acceptation of music.
|
|
| |
|
|
Timbre and Harmony
Mrkvička, Luboš ; Slavický, Milan (advisor) ; Kurz, Ivan (referee) ; Řehoř, Bohuslav (referee)
This paper focuses on the musical movement called spectral music (almost exclusively concerning its French form). Spectral music contributed to a deeper reflection of the interrelationship between the phenomena of the instrumental timbre and the pitch organization and, in this matter, has been perhaps the most significant music style from the seventies up to the present. The introductory chapters contain general characterizations of the historical context of spectral music, as well as the description of its initial gesture and structural basis. The main part of the paper follows, dealing with the individual compositional techniques: the analyses of particular musical examples chosen from the pieces by the leading figures of this musical movement (Gérard Grisey, Tristan Murail and others). The aim of the conclusion is to shortly confront the spectral compositional techniques with the serial ones.
|
|
| |
guest ::
RSS feed.