Podrobný výpis o publikaci

The work is based on Music Information Retrieval (MIR) methods and uses the scientific apparatus mainly of musicology, music theory, sound engineering, psychoacoustics and semantics. Analyzes 4 important studio recordings of Leoš Janáček's Sinfonietta conducted by the four above-mentioned conductors and performed by the four above-mentioned orchestras. Acoustic parameters are compared for the selected blocks: tempo, real dynamic range, melodic contours, tuning, articulation (real length of notes and accentuation), color distribution within the stereo, instrument mixtures and degree of masking and dynamic distance of instruments from each other. Psychoacoustic parameters were also measured for selected sections discussed by musicology, e.g. sharpness, roughness, tonality or non-tonality (noise) of colors, quality of spectra, etc. The obtained data were related to subjective perception, i.e. how the recordings affect the listeners and to possible critical reactions to the given recordings. The work also reflects the semantic interpretation of the composition by both the author and musicologists. The output is then a generalization of what is typical for individual performances and the conductor's handwriting and what is different in the case of the Sinfonietta. The work is based on Music Information Retrieval (MIR) methods and uses the scientific apparatus mainly of musicology, music theory, sound engineering, psychoacoustics and semantics. Analyzes 4 important studio recordings of Leoš Janáček's Sinfonietta conducted by the four above-mentioned conductors and performed by the four above-mentioned orchestras. Acoustic parameters are compared for the selected blocks: tempo, real dynamic range, melodic contours, tuning, articulation (real length of notes and accentuation), color distribution within the stereo, instrument mixtures and degree of masking and dynamic distance of instruments from each other. Psychoacoustic parameters were also measured for selected sections discussed by musicology, e.g. sharpness, roughness, tonality or non-tonality (noise) of colors, quality of spectra, etc. The obtained data were related to subjective perception, i.e. how the recordings affect the listeners and to possible critical reactions to the given recordings. The work also reflects the semantic interpretation of the composition by both the author and musicologists. The output is then a generalization of what is typical for individual performances and the conductor's handwriting and what is different in the case of the Sinfonietta.