|
|
Mapping the Individual Musical Experience in Post-Apartheid South Africa: A Bio-Ethnography of Township Dweller Lesiba Samuel Kadiaka
Zdrálek, Vít ; Matoušek, Vlastislav (advisor) ; Lucia, Christine Elizabeth (referee) ; Horáková, Hana (referee)
The dissertation is a biographical ethnography of an individual, ordinary musician and Mamelodi township dweller, Lesiba Samuel Kadiaka (*1962) in South Africa. It is based largely on fieldwork totalling more than 12 months conducted in five periods over six years between 2006 and 2011. It examines the possibilities of studying an average (rather than 'leading') musician ethnographically and their implications and consequences for wider ethnomusicological and South African music research. It makes a practical contribution to the wider debate about the relationship between individual, social, and cultural structures, and breaks new ground in its focus on the previously little known music and practices of Mr. Kadiaka's church, the Zion Christian Church. The research consisted mainly of ethnographic observations of various kinds of musical activities in which Mr. L. S. Kadiaka was involved in as a solo musician (songwriter and song singer) and as a member of the ZCC, on the one hand, and of deep interviews over the time span of six years, on the other. It consists of a biographical part dealing with his narratives about childhood in rural Ga-Mphahlele and his later life in Mamelodi township. Iconographic historical sources of a private nature are use too. The second part describes in three large...
|
|
|
FRAME DRUMS – HISTORY AND PRESENT
Rehberger, Pavel ; MIKOLÁŠEK, Daniel (advisor) ; MATOUŠEK, Vlastislav (referee)
The goal of the thesis is to present to the reader the history and development of the frame drums, and also introduce the ways of their usage in the past and within the present musical thinking. For an adequate usage of all capabilities of this instrument is beneficial to understand the natural relation of the progress between its fabrication and the techniques of playing. Last but not least the thesis makes an effort to get an overview and a description of at least the main part from infinite number of variations of the frame drums used in the present day with the insight into disunited nomenclature.
|
|
|
Percussion instruments in Azerbaijan
Pashayev, Mikhail ; MIKOLÁŠEK, Daniel (advisor) ; MATOUŠEK, Vlastislav (referee)
Theme of my bachelor's thesis is opera in Azerbaijan. It includes three chapters. First of them is about history of national musical instruments of Azerbaijan. In the second chapter I present the existing in Azerbaijan percussion instruments. And the third chapter is devoted to the formation and development of modern science about Azerbaijan national instruments. My work contains an attachment in form of CD with the pieces of percussion instruments, national azerbaijanian music and photos of described instruments.
|
|
|
JOHN CAGE´S LEGACY TO MOVEMENT THEATRE
Fröhlichová, Marie ; PETIŠKOVÁ, Ladislava (advisor) ; MATOUŠEK, Vlastislav (referee)
This work is aimed to acquaint the reader with the work of American composer John Cage in 20th century primarily with his work related to dance, movement and theatre.
First of all, it describes the composer's musical development, systems and principles of his work that he reached on the basis of his music practise. After explaining how the Cage applied these principles in other artistic disciplines attention is focused to dance, movement and theater.
In conclusion, the work focuses on the reference of John Cage's art and theater legacy ? This, his own life philosophy, which had been develo- ped for many years of his work and in which Cage came to simple persuasion - the most important thing is the existence of music and noises as themselves. The essence of existence of noises.
|
|
|
On the Question of transcendent Time in Music
Míšek, Jakub ; TICHÝ, Vladimír (advisor) ; MATOUŠEK, Vlastislav (referee)
The concern of this thesis is the relationship between music and time, more precisely a specific kind of temporality, which is known as transcendent, sacred, sacral or "the third" time. This text is meant to be an introduction into the subject matter. At first the relationship between musical and non-musical time is discussed. Then the phenomenon of transcendent time is put into the relationship with theories of musical time presented by other, both Czech and foreign, authors. The last part of this paper contains an exemplary listing of composer strategies which can help in inducing an experience of transcendent time. These strategies are demonstrated on songs and compositions originating in different genres and cultures.
|
|
|
Analysis of polyphony of indigenous people of Solomon Islands
Míšek, Jakub ; Tichý, Vladimír (advisor) ; Matoušek, Vlastislav (referee)
MÍŠEK, Jakub: Analysis of Polyphony of Indigenous People of Solomon
Islands. [Bachelor?s thesis]. Academy of Performing Arts in Prague. Music
Faculty; Department of Music Theory and Music History. Thesis advisor :
prof. Vladimír Tichý, CSc. Degree: Bachelor of Music Theory. Prague :
HAMU, 2011. Pp. 70.
The thesis provides an analytic view of the music of indigenous people of
Solomon Islands which is distinguished by its frequent use of polyphony.
A Czech reader going through the foreign, especially English-written
literature, discovers a frequent use of the word polyphony. The thesis
attempts to decide whether all these cases are entitled to be labelled with
the Czech equivalent of the word polyphony, polyfonie. After a brief
summary of the historical development in the region and depicting the
main features of local musical cultures, the thesis presents nine analyses
of examples of vocal songs coming from the islands of Guadalcanal,
Malaita and Savo, which are focused on issues of melody, rhythm and
structure. The last part deals with questions of homophony, heterophony
and polyphony and explores their relationships and overlaps. Using my
original method of analysis based on perceptual approach, the thesis
proves that the term polyfonie can be used for non-European music.
Keywords: Solomon Islands, ethnomusicology, homophony, heterophony,
polyphony
|
|
|
Kazakh national wind instruments and their utilization in music of Kazakh composers
Aitbayeva, Nargiza ; Filas, Juraj (advisor) ; Bartoň, Hanuš (referee) ; Matoušek, Vlastislav (referee)
The problem of Kazakh national wind instrument has interested me for a very long time. They reached their progress in 19 cent. Therefore in that time there was a lot of music schools founded there. The ancient tradition of playing wind instruments and their classes had become professional. But in use this section was not able to perform as solo instruments in Kazach folklor instrument orchestra. They have supported and accompanied other groups of instruments. Their structure and their devices of play were interesting for me, too. It?s really difficult to find any instruments like these, which can make more than two tones in one time. It explains the role of this instrument group as completion instruments in an orchestra. As a result they can create whole accord and make required harmony.
|
|
|
Percussion instruments in chosen works of Igor Stravinsky
Koubek, Tomáš ; Mikolášek, Daniel (advisor) ; Loudová, Ivana (referee) ; Matoušek, Vlastislav (referee)
In my dissertation I deal with the role of percussion instruments in several most important works of the big Russian composer of the 20th century, Igor Stravinsky. The basis of this work is analyses describing and assessing the role of percussion instruments in these compositions. Each chapter is devoted to one analysed work. The structure of the chapters is unchangeable, an introduction gives some information about the given composition, under which conditions it originated, what the composer's aim was, who commissioned or initiated it, when it was premiered etc. The main part of each chapter is the analysis of the piece focused on technical demands of individual parts of percussion instruments, their playing in unison an combination with other instruments.
Igor Stravinsky's highly complicated musical vocabulary using rapid changes of irregular juxtaposed bars and largely involving percussion instruments made me choose his works. They are, in my opinion, the most important and often performed and, regarding a percussionist, they are considered to be the most challenging for mastering the orchestral playing.
In the appendix to this master's dissertation I present examples of notation tangibly illustrating described difficulties and situations.
I hope this dissertation to be an assed for several reasons:
1) It will become a useful source of information for professional
percussionists as well as for conductors performing Stravinsky's works.
2) It may serve as a source of information for future musicologists or
arrangers.
3) The additional advantage of this work is the fact that it is written by a
practising percussionist since deep knowledge of percussion instruments technique enables to analyse Igor Stravinsky's compositions also with regard to interpretation demands on the player.
|
|
| |
|
|
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.
|
guest ::
RSS feed.