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Parallelism as a principle of multi-voice leading
Kliment, Henrich ; FILAS, Juraj (advisor) ; GEMROT, Jiří (referee)
The text focuses on parallel motion of voices as a type of multi-voice leading, as an element or a factor in process of composition in the context of music theory, and also in the context of different periods of history of music from prehistory to the present with the main consideration for the use in my own latest work. The first part of the text deals with the concept of melodic and harmonic parallel voice leading regarding to its sound quality and functional meaning in a musical piece. The second part is a chronological interpretation of the conventions of using the principle of parallel voice leading in the process of composition or interpretation in terms of individual periods of history of music.
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Preludes by F. Chopin, A. N. Scriabin and C. Debussy - Comparison
Hozman, Denny ; KLÁNSKÝ, Ivan (advisor) ; KAHÁNEK, Ivo (referee)
The subject of this thesis is to present the cycles of the preludes composed by F. Chopin, A. N. Scriabin and C. Debussy and to compare them with each other. 3 sorts of criteria will be chosen for that: 1) non-musical criteria, 2) music theory criteria and 3) will be researched through the analysis of chosen music pieces from the cycles. Their common features and differences will be summarized at the end of the each chapter.
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Piano Work of C. Debussy with Focus on the Cycle Estampes - harmonical Analysis, Comparison of the Records
Suchánková, Eva ; KRAJNÝ, Boris (advisor) ; KAHÁNEK, Ivo (referee)
The topic of this bachelor?s thesis is a deeper analysis of the interpretation of the piano cycle Estampes by Claude Debussy. Three different approaches of analysis for achieving this aim were chosen. First, the reader is introduced into the historical circumstances of the formation of the cycle and all the sources of author?s inspiration. Second, a harmonical analysis of the whole cycle as the main focus of this thesis is presented. This was achieved by capturing of the unique features of every composition and by pointing out the most important musical ideas and thematic material characteristic to the musical impressionism used by the composer. Thirdly, three famous pianists of the 20. century with their different interpretations of Estampes are introduced: W. Gieseking, E. Gilels and S. Richter. These interpretations are mutually compared as well as with the sheet of the original music. Such a complex view of these piano pieces may enable a deeper insight into their complexity and may also serve to a convincing interpretation and better understanding of Estampes.
This bachelor?s thesis is divided into the introduction part, four main chapters with several subchapters and the conclusion. Four attachments are added to the thesis.
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