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Dílo Johanna Sebastiana Bacha v sémiotické perspektivě
JAROLÍMOVÁ, Jana
This dissertation deals with the semiotic potential of J.S. Bach's work. The topic follows on from the diploma thesis Music as a sign and the author's pedagogical musical practice. The first part of the thesis is focused on the semiotic nature of the musical piece and its communication function with reference to the semiotic art theory of Josef Zverina. It is focused on the characteristics of the artistic sign, the sign functions, and above all to the subjects appearing in semiotic musical communication: the creator, the perceiver, and the performer. The aim of the first part is to characterize key semiotic musical concepts for the next parts of the thesis and also to evaluate the contribution of Zverina's concept to musical semiotics. The second part of the thesis is focused on the most used semiotic triad of icons - index - symbol in the concept of Ch. S. Peirce. As part of the iconicity of the musical sign, attention is paid to musical notation and its semiotic marking. In the music index, a large space is devoted to affect theory and the semiotic insight of musical emotions. The musical symbol is clarified in Bach's theological utterance and the analysis of symbolically rich places in his pieces. The aim of the second part is to link Peirce's sign triad with specific musical examples and to find out how these types of signs function in the musical discourse. The third part of the thesis is focused on the claim that Bach's musical artwork can be related to Leibniz's monadology. The goal is to clarify what analogies and differences result from this interdependence. The conclusion of the thesis contains an overlap into the current problems of artificial intelligence, which influences musical semiotics, as well as a summary of the contribution of this thesis.
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Silence
Šterbáková, Daniela ; Thein, Karel (advisor) ; Kolman, Vojtěch (referee) ; Fulka, Josef (referee)
Silence is a negative term denoting absence of sounds. However, our ordinary way of speaking about silence suggests that the latter is some perceptible reality, 'some- thing' perceived. But is it legitimate to say that we hear silence - absence of sound? What implications about perception does such a way of speaking have? The aim of the present thesis is to analyse these questions. The analysis unfolds along three axes. The first part of the thesis reconstructs the problem of perception of silence in John Cage's 'silent piece' 4'33" in context of its conceptual origin, Cage's aesthetics, and reflection of his work in his written texts. Hence the introduction of the problem of perceptible silence in recent thought. It discusses the thesis that we cannot hear absolute silence, not even in the soundproof chamber, and considers the question whether it is adequate to say that we can hear silence if we expect to hear music, but the music does not sound - a question that was raised by the premiere of 4'33". The second part of the thesis scrutinizes the position according to which we can directly hear/listen to silence which is the absence of sounds, namely the arguments of Roy Sorensen and Ian Phillips. Emphasis is put on Sorensen's theory since it is in direct contrast to Cage's position (though Sorensen...
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Material world in the system of pre-established harmony
Kožíšek, Jakub ; Palkoska, Jan (advisor) ; Hill, James (referee)
In my thesis I will be engaged in Leibniz's conception of material world in the system of pre-established harmony. In Leibniz's philosophy bodies exist at least on two different levels of reality. We can think of them as aggregates of simple, not extended substances - monads, or on phenomenal level, as well founded phenomena, which are only representations of monads. My primary aim is to examine, how these two conceptions of material world connected are.
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