| Abstract [eng] |
The author of this Master Thesis explores the concept of autonomous musical sections – “moments” and moment form, its development, features and characteristics, particularly the practice of moment in Claude Debussy’s piano works. The author focuses on main categories of musical time and its peculiarities as well as analyzes the concept of moment form described by Karlheinz Stockhausen. In the second chapter of the thesis – analysis of C. Debussy’s late piano works are examined by these criteria. As impressionism marked a significant change in the history of music, so did C. Debussy’s intricate compositional innovations, which eventually became a manifest for later composers. In C. Debussy’s preludes, which were composed in the latter stages of composer’s life, you can discover the most impressive compositional features, of which one is the discontinuity in music, that later became a point of discussion between the music theorists. The author will be examining the phenomenon of discontinuity in four different C. Debussy’s preludes – Ce qu'a vu le vent d'Ouest, La sérénade intérrompue, Voiles from the 1st Préludes’ collection and Ondine from the 2nd preludes’ collection. |
