Diploma thesis Organicity as an aesthetic concept in contemporary music tries through interdisciplinary comparison to point out possible manifestations of organics in a musical context. By organicity is meant the holistic understanding of a music work as an „organism“, in which the whole is to the part as the part is to the whole and which is manifested primarily by its sound shape. The text describes how the concrete musical parameters relate to the organic form and how they model it. The author first defines basic organic characteristics such as homogeneity, causality, non-geometry, processuality, or continuity of the form and then demonstrates them on numerous note examples. It does not create a new theory but seeks to point out the universality of this phenomenon both from the historical point of view and in its current forms. Attention is paid to various types of musical perception, time experience and perception of sound form. The terms „sound object“ and „sound gesture“ integrate into a new context and proposes a new typology of musical processes. The work briefly touches on the origin of thinking about organicity in philosophical and aesthetic discourse.
| Identifer | oai:union.ndltd.org:nusl.cz/oai:invenio.nusl.cz:369711 |
| Date | January 2017 |
| Creators | Dřízal, Jan |
| Contributors | BARTOŇ, Hanuš, FILAS, Juraj |
| Publisher | Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna |
| Source Sets | Czech ETDs |
| Language | Czech |
| Detected Language | English |
| Type | info:eu-repo/semantics/masterThesis |
| Rights | info:eu-repo/semantics/restrictedAccess |
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