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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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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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Concerto grosso in contemporary music
Hájek, Jiří ; Kurz, Ivan (advisor) ; Riedlbauch, Václav (referee) ; Parsch, Arnošt (referee)
The bachelor's dissertation Concerto grosso in contemporary music includes the definition of concerto grosso as a conception in music's terminology, it's role in the music's history and introduces the leading composers of this style. There are analysed six scores of authors, who were concerned with this form. Afterwards follow the definitions of single compositional principles of concerto grosso. The principles of this form are compared with the results of single analyses in the next chapter. Finally I confronted my bachelor's compose Concerto for trumpet, timpani and strings with compositional principles of concerto grosso. In the conclusion is summarized my whole dissertation and are recapitulated single steps which I took. At the end is written the list of used literature out.
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