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Janacek´s sčasování and spletna
Bogišová, Lucie ; KREJČA, Tomáš (advisor) ; OPLIŠTILOVÁ, Iva (referee)
This master’s thesis deals with the interpretation of the sčasování and spletna, two of the key musical theoretical concepts of Leoš Janáček (1854-1928). The first half of the text is trying to term of sčasování and many of related terms with him to approach from the standpoint of Janáček's theoretical texts and studies by leading Czech musicologists. Also here we highlight the elaboration of the concept in the form of a discipline called musical kinetics, and all formal knowledge of the sčasování here are in the form of dictionary watchword. The goal of the second half of the work is to map the content of the concept spletna and related concepts within terms pocit and pacit and point out that their development in Janáček's creative thinking. Also here is a theoretical work of Janacek's like the basic assumption for our interpretation on which the findings are based on our comments to the reflection spletna for a number of Czech and foreign authors. Even with terms of spletna, pocit and pacit, we evidence clarification of these terms, that will be in the form of the real and the imaginary tone, which characterized Karel Janeček. The main benefit of the work is to bring the music of Janáček's central theoretical expressions in the form of today's musical terminology and hold all-encompassing terms and their interference to modern theoretical research. Using the description of the concepts we examined we also had a chance to point out some interesting moments in the composer's theoretical thinking.
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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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THE METHODOLOGY OF RUSSIAN ETUDES' PRACTISE
Böhmová, Veronika ; KLÁNSKÝ, Ivan (advisor) ; OPLIŠTILOVÁ, Iva (referee)
The thesis aims to address issues concerning technical piano playing by university students.
The topic is approached through a discussion of the overall aesthetics of exercise and a survey of types of piano touch, all using specific analysis of etudes by Russian composers. Etudes by Glazunov, Prokofiev, Rachmaninoff, Scriabin, Stravinsky and are the focus of the analysis.
The exercise methods discussed in the text lay much better foundations for technical piano playing, highlight the importance of consciousness as the key factor in the process, and make the piano player examine the musical text with much more rigour. The core of the thesis is not only the detailed discussion of Russian etudes that are only rarely played in the Czech Republic but also a reflection on the piano exercise itself that brings the player towards efficient and meaningful work with the instrument.
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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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On the tectonic function of timbre in contemporary music
Oplištilová, Iva ; Tichý, Vladimír (advisor) ; Kollert, Jiří (referee)
The thesis deals with the issues of timbre which has been for a long time neglected by music theory for its subjective and boundless character. With the development of new branches of science, the situation has changed. Psychoacoustics and cognitive sciences unite perception and measurable acoustic parameters of sound. They certify the existence of common features in perception of different individuals and the possibility of following classification of timbres which can be also used at theoretical analyses of compositions.
The chapters gradually elaborate the general requirements for a music component to be form-bearing, the variety of definitions and descriptions of timbre, timbre perception models and operations on perception spaces. In the final chapter, experimental data are presented supporting the claim that from the cognitive point of view, timbre satisfies the requirements set in the first chapter and therefore it can be, with certain limitations, considered form-bearing in music.
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