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Karel Velebný and the Third Stream
Pudlák, Jan ; Havelková, Tereza (advisor) ; Šťastný, Jaroslav (referee)
This Master's thesis focuses on the specific features and phenomena in the Czech third stream in the 1960s. These specifics are identified, on the one hand, through the analysis of Karel Velebný's third streams compositions, but also through their comparison with third stream works by other Czech authors in the observed period. The resulting characteristic of the Czech third stream is then confronted with the third stream of an American author and ideological founder of this style movement, Gunther Schuller. The criterion for the inclusion of the analyzed compositions in this thesis was the presence of a certain avant-garde ambition, which, in this thesis, is understood as the use of dodecaphony or other New music compositional techniques in the context of jazz music. In the analysis, the thesis focuses on the way these compositional techniques were implemented into the structure of jazz music, but the author also observes which musical components are through this stylistic synthesis modified the most. Key words: Third stream, jazz, Karel Velebný, Pavel Blatný, Gunther Schuller
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Late works of Morton Feldman
Zvěřina, Petr ; TICHÝ, Vladimír (advisor) ; Šťastný, Jaroslav (referee)
In my dissertation, I’m trying to establish a theoretical model for better understanding of processes that occur in Morton Feldman’s late works (e.g. Piano and String Quartet, For Bunita Marcus etc.). These compositions are extremely long and not climax-oriented, we can observe „repetition“ of limited amount of musical material, there is no „general“ compositional system, musical sections can be freely interchanged or combined, acoustical qualities of tone material are emphasized. These attributes are interconnected, they are creating a specific type of „musical assemblage“ that I define as rhizomatic form (in reference to Deleuzo-Guattarian concept of the rhizome). First of all, I’m elaborating Feldman’s own texts and current studies about his music. Subsequently, I’m discussing Feldman’s compositional procedures in the context of post-war musical avantgard (The New York School, Anton Webern, Pierre Boulez and Karlheinz Stockhausen, musique informelle). Main part of my dissertation is dedicated to rhizomatic form; before the discussion of this term, I’m focusing on related topics: compositional and acoustic reality, difference and repetition, speed and intensity. I’m constantly trying to confront my findings with Feldman’s early works (e.g. Intermission 5 and 6). I’m also comparing composer’s overall attitude towards musical structure with methods and techniques of abstract expressionists (e.g. Mark Rothko, Jackson Pollock) and novelists like Samuel Beckett and Franz Kafka. Following the concept of rhizomatic form, I’m trying to analyze Feldman’s composition Patterns in a Chromatic Field for violoncello and piano.
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Musical time - its deviation from the astronomical time
Oplištilová, Iva ; TICHÝ, Vladimír (advisor) ; Šťastný, Jaroslav (referee)
My dissertation is based differentiating individually experienced, musical time, and shared, astronomical time. I combine the knowledge gained in cognitive science experiments with music-theoretical approach following the path from sound received to the hierarchized representation of the temporal component of music. My focus are those possible mechanisms that allow deviation of musical time from the astronomical one and the factors influencing them. As concerns music theory, I chose the analytical tools provided by the General Theory of Segmentation and the Recontextualization Theory by D. A. Hanninen. The inner sharing of pulse by the listener or performer with the pulse of sounding music I consider to be the decisive moment for/in the deviation of musical time. I link the pulse boundary with prospective and retrospective strategies of the perceiving person. My considerations unfold on an axis between two poles of pulse and gesture, i.e. between full kinaesthetic synchronization with the outer, shared time and the maximum deviation dependent on the individual manner the gesture is internally represented. I convey the hypothesis that the deviation of musical time is possible only with retrospective strategies of processing of musical events.
My theoretical considerations and suitability of the chosen analytical tools/means are verified in the second part, in analyses of compositions by G. Grisey, O. Messiaen, P. Kotík, P. Graham and A. Breier. Enclosed are also some theoretical reflections of these composers concertning their work with time.
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Non-linear time and silence in post-cagean music
Oplištilová, Iva ; Tichý, Vladimír (advisor) ; Šťastný, Jaroslav (referee)
The main focus of the thesis is the issue of non-teleological listening strategies for music. They are described based on a phenomenological approach from the first person perspective. Phenomenological reduction is suggested as a method of work with phenomena for which classical tools of musical theory have proven insufficient. Non-teleological compositions are related to J. T. Fraser´s theory of temporalities, specifically to non-linear temporalities. The characteristic phenomena in non-linear temporalities are described as experiences, i.e. phenomenologically, as well as from the viewpoint of the material utilized, i.e. as compositional procedures. The main concepts explored are duration, musical object, continuity and gesture. The significance of context and the listener´s range of perspective have been emphasised, i.e. the issue of scales. The last chapter deals with various types of silence. They have been differentiated based on the context where they are used.
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Towards melodic aspect of contemporary music
Bakla, Petr ; Hons, Miloš (advisor) ; Šťastný, Jaroslav (referee)
The object of this paper is the theoretical examination of the melodic aspect of contemporary music, e.g. music of the last 30-50 years, especially its progressive, non-traditionalist currents. The melodic aspect is defined as the total of those properties of a given musical structure, which emerge from structure?s design in the horizontal sense.
The first part deals with the criticism and rethinking of the classical conception of melodics as music theory?s discipline. The proposed, amplified conception of melodics is effectively applicable in the field of both contemporary and traditional music research. The main object of the newly conceived melodics is not a melody as an objective structure privileged in respective context, but the melodic aspect conceived as a property of the whole (super)structure. To be relevant for examination and deliberation, the melodic design of the given structure does not have to be perceptionally evident. Among other, this part of the text brings an universal definition of melody and deals with possible points of view in examination of musical structures.
The second part brings a typology of melodies. The categories of the typology are represented by melodic types of pronounced morphological set-up. The melodic types, important in contemporary music both what regards quality and quantity, are defined by their objective properties, as well as by the divergent tendencies they represent in respect to classical melodic norms. The last chapter brings an outline of possible classification of multi-part structures, taking advantage of the typology of melodies.
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Techniques of metrorhythmic structures in the works of Brno´s composers
Bednařík, Radim ; Loudová, Ivana (advisor) ; Filas, Juraj (referee) ; Šťastný, Jaroslav (referee)
This thesis analyses a metrorhythmical compositional work of Brno post war modernistic composers and their students. It focuses on theoretical organization of its kinetic component and thus gained knowledge is furthemore used for particular analysis of selected compositions. The analyses of kinetic components of selected compositions, as the main outcome of this thesis, strive to describe the influence of particular metrorhythmical and multilayered musical structures on the quality of aesthetics and thought content of these compositions of particular creative poetics.
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