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Paradoxes of Musical Hearings
Vetchá, Soňa ; KURZ, Ivan (advisor) ; BEDNAŘÍK, Radim (referee)
This work deals about the paradoxes of musical hearing and perception, in the field of auditory illusions, whose potential leads our perception to subjective or "deceptive" evaluation of sound stimuli. These various sound stimuli will be firstly described and subsequently used in various ways in the compositional process. The main points within this text are the formation of basic categories of different types of auditory illusions, based on their origin, expression, characteristics and common general conditions for their correct function. One of the auditory illusions, which is used in musical demonstrations and the graduation composition as a compositional tool, was tested trough a psychoacoustic experiment before using it. This is a kind of bistable sound deception, that was created to detect the influences and differences in perception in its application to various acoustic instruments. On this effect will compare the subjective responses of two different categories of people.
Selected auditory illusion, that are suitable for the compositional use are processed in various ways into short studies. These studies will be described in terms of recommended options for instrumentation, structural principles and impact on overall stylistics. Another point of the text are the musical expamples from composers of contemporary classical music, who have inspired them consciously or unconsciously. The conclusion of the text is an analysis of the graduate thesis called Hyperkrychle (four-dimensional body), which represents the main projection of auditory illusions into a composition in the form of a time-sound simulation, where the imaginary fourth dimension is the ability of a diverse subjective evaluation of our perception.
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USAGE OF MICROINTERVALS IN COMPOSITION THINKING
Chudovský, Daniel ; KURZ, Ivan (advisor) ; BARTOŇ, Hanuš (referee)
This dissertation deals with authorship approaches of composers of the 20th and 21st centuries, who decided to settle their thinking on the organization of tonal material by using microintervals as a functional tonal material. My intention was to look at this topic from a composer's point of view, not from a scientific point of view. I perceived this view is creating a very important dimension for a certain type of composition that allows the composers to use the elements in terms of a structural unit. Consequently, the composition process becomes a very lively unit that the composer grabs. My dissertation thesis describes the exposition of my own insight into the actual reality in correspondence with the historical context.
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THE CZECH CREATION OF CONCERT MELODRAMA IN THE SECOND HALF OF THE 20th CENTURY AND AT THE BEGINNING OF THE 21st CENURY
Kux, Martin ; FILAS, Juraj (advisor) ; KURZ, Ivan (referee)
This Bachelor thesis named “Czech Creation of Concert Melodrama in the Second Half of the 20th Century and Beginning of the 21st Century with Analysis of 4 Compositions” deals with the view of Czech melodrama as a specific genre combining spoken word with musical component that has historically had an important tradition in the Czech Republic.
The thesis primarily focuses on the chronological development and various component concepts in our country in the past 50 years. In order to demonstrate the topic, four melodramas by authors from different generations are presented in the paper.
Through their analysis, the author describes what directions the style and development of the Czech concert melodrama has been heading.
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Authors´ approach to application of microtonality
Chudovský, Daniel ; KURZ, Ivan (advisor) ; RIEDLBAUCH, Václav (referee)
This diploma thesis focuses on works of different composers across the 20th century in the field of microtonal and micro-interval music. The aim of this thesis is to point out other solutions of this technique based on analysis of composition approaches of Alois Hába and his contemporaries. Systems of tuning relating the most convincingly to the application of micro-intervals into the melodic-harmonic process of music composition are also discussed in this paper. The core of the thesis is an author's explanation of the so called central reapplication based on a specific approach to the use of micro-intervals. The thesis contains an analytical view of two compositions of its author where central reapplication is utilized as one of the possible approaches to implementing micro-intervals into music compositions. The aim here is to define two different ways of thinking about this tone set and to bring at least a partial recontextualization in viewing of micro-interval music.
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Using compositional techniques in the work of Ligeti as a source of inspiration for my own compositional work ( focusing on piano music)
Vetchá, Soňa ; KURZ, Ivan (advisor) ; RIEDLBAUCH, Václav (referee)
This bachelor’s thesis deals with the issue of Ligeti’s compositional techniques in general and with special focus on his piano works in periodical manner. Thesis contains analyzes of piano works, mainly Musica Ricercata and selected Piano Etudes, compares Musica Ricercata and Bartók’s Microcosm to which whole chapter is assigned later in this work. Thesis also mentions the importace of Ligeti’s work in Cologne and his acquaintance with key figures of the European avant-garde of that time, with Karlheinz Stockhausen in particular.
At the end of this thesis we adress author’s own bachelor composition Dream for piano and chamber orchestra, which in some ways uses the same techniques Ligeti used in his piano etudes.
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Interactive Music in Computer Games
Patras, Daniel ; KURZ, Ivan (advisor) ; IVANOVIČ, Marko (referee)
This thesis aims to describe the interactive music in computer games and its definition compared to non-interactive music. This thesis describes the functionality of the interactive music, its essence, history, potential, terminology and selected examples showing the use of various techniques specific interactive music experience.
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Influence of synaesthesia on compositional thinking
Bartošík, Zdeněk ; BARTOŇ, Hanuš (advisor) ; KURZ, Ivan (referee)
This thesis deals with the visual arrangement of a sound event within synaesthetical demonstrations (especially the coloured hearing) as well as with demonstrating their parameters that are related to the topic (although many of them are considered subjective).
The intruduction describes selected demonstrations of synaesthesia. The following chapter deals with coloured hearing and its possible relation to the theory and practice of music composition. The final chapter of this thesis shows particular application of this phenomenon in the process of composition.
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Interaction of classical and rock music in my work
Worek, Michal ; KURZ, Ivan (advisor) ; BARTOŇ, Hanuš (referee)
In my Thesis, I am trying to introduce my concept of interaction of classical and rock music. It is illustrated by concrete compositions how I proceed when composing and which elements are inspired by classical music and which by rock music. I am also citing my inspirational resources from both kinds of music that I am using in my work. The fundamental part of my Thesis is an analysis of my bachelor composition Symphony of Progress which I intend as an example of a balanced interaction of classical and rock music. I consider its ambiguous genre categorization to be one of the proofs. In this case, it is possible to regard it as progressive rock as well as classical music with the use of rock band. Yet every auditor has to judge himself whether I managed to create such a balanced interaction.
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Consonance and Dissonance in the Context of My and Other Composers' Works
Klusák, Martin ; LOUDOVÁ, Ivana (advisor) ; KURZ, Ivan (referee)
The first three chapters cover historical and contemporary theories of consonance and dissonance that directly influenced my work. This thesis focuses on music-theory and acoustic interpretations of the two terms, but contains also two non-conform points of view on the subject.
In the last - fourth - chapter, using own reflections and analyses of own compositions, I describe main relationships of the terms consonance and dissonance with my works.
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