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The Human Voice in Selected Examples of Works by Arnold Schönberg
Švarcová, Terezie ; RATAJ, Michal (advisor) ; DUŠEK, Jan (referee)
The human voice holds a significant position in works of Arnold Schönberg.
My dissertation focuses on the use of a voice technique, the so-called Sprechstimme (Spoken-voice) in the musical piece Pierrot Lunaire, op. 21 (1912). I confront the term Sprechstimme with the term Sprechgesang (Spoken-singing) in the very opening of my study. In addition, Schönberg's use of human voice in the pieces written before Pierrot, are briefly mentioned. I am peripherally exploring the other melodramas written by Schönberg, namely Ode to Napoleon Buonaparte, op. 41 (1942) and A Survivor from Warsaw, op. 46 (1947) at the conclusion of this dissertation. I am clarifying why the author has chosen this type of voice technique and also where it is used in musical and aesthetical contexts. I explain the term Sprechmelodie (Spoken-melody) in the area of analysis and focus on the composer's approach to the text material in the ambit of rhythmical component, articulation, dynamics, agogic and the verbal directions for the narrator. Sprechstimme represents one of two fundamental composers approaches towards the human voice and becomes some sort of parallel to the purely vocal composition attitude during the composition time.
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Double Approach to the solo Voice in Works of Luciano Berio
Švarcová, Terezie ; FILAS, Juraj (advisor) ; KOPELENT, Marek (referee)
The vocal part of the artificial music progressed throughout the 20th
century with an extensive development. Along side with other composition
styles, most commonly used was the human voice while applying the technique
of bel canto, especially in the second half of the 20th century where there is an
exessive vocal projection based on the extended techniques. In this work I am
focusing on the composition approach for the vocal solo in the Luciano Berio
work, whom applies both of these styles within his piece. Luciano Berio
approaches these styles seperately or combines them into one. Here he focuses
on use of both priniciples individually and on specific pieces "Folk
Songs and Sequenza III per voce femminile " I demonstrate this alternative
capturing with the cooperation of work with the human vocals. I present their
characteristical symbols, and in simplistic voice I analyze and compare them.
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