This diploma thesis deals with the growing tendency of composers of Czech artificial music from the 1960s to the present to discover new technical possibilities of percussion instruments and then apply them to the musical process. The work contains several notes about the historical re-evaluation of the percussion instruments in the hands of the composers, and the emancipation of the percussion instruments in the work of Czech composers. The work contains several theoretical and interpretative analyzes, namely the analysis of works by Miloslav Kabeláč, Marek Kopelent and Daniel Chudovský. The aim of the work is to point out the increasing demands for interpretation of contemporary music for percussion instruments, but also the resonant plurality and openness of various composing personalities of the selected time period.
| Identifer | oai:union.ndltd.org:nusl.cz/oai:invenio.nusl.cz:358391 |
| Date | January 2017 |
| Creators | Veselý, Šimon |
| Contributors | MIKOLÁŠEK, Daniel, BARTOŇ, Hanuš |
| 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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