|
|
DOUBLE BASS PLAYING - Historical, Pedagogical and Musical Theoretical Aspects
Šašinková, Eva ; Palkovská, Jana (advisor) ; Hudec, Jiří (referee) ; Bernášek, Václav (referee) ; Gregor, Vít (referee)
DOUBLE BASS PLAYING - Historical, Pedagogical and Musical Theoretical Aspects ABSTRACT This dissertation thesis focuses on historical, pedagogical and music theoretical aspects of double bass playing. The thesis collects data on double bass history regarding the structural development of this instrument and double bass bow, the development of tuning and using this musical instrument in particular centuries. Additionally, the introduction of this thesis contains information on the most significant double bass players of the past. Apart from the development of arts education in the Czech Republic, the research chapters survey the establishment of Academies of Arts in the former Czechoslovakia and later in the Czech and Slovak Republics. The chapter with the overview of Conservatories and Academies which currently provide double bass playing education include topical charts and graphs. The other research scope relates to the literature for double bass by the most important Czech double bassists/composers. The chapter based on this research resulted from thorough research in the archives performed during the years 2020-2022. The overview of the fifteen most impor- tant Czech double bassists/composers, which has not been elaborated before, is supplemented by an overview of artistic, pedagogical and compositional...
|
|
|
The Pianist's Feeling for Harmony in Compositions from Romanticism
Široká, Zuzana ; Gregor, Vít (advisor) ; Palkovská, Jana (referee)
This thesis explores different ways in which pianist perceive harmony in compositions of the Romantic era. I write about history of harmony and about the context of the Romantic era at the beginning of the thesis. Then I write about Chopin and about his work with a motion, a sound and harmony. The rest of the work devotes to the research. I conducted qualitative research. I interviewed four pianists, with each pianist we talked about three compositions of the Romantic era. I gave scores of the Chopin's Mazurka B minor, op. 30, no. 2 to all of them, the rest of the compositions were chosen by the pianists. They had to choose two compositions, which were created by R. Schumann, S. Rachmaninoff, or F. Liszt. I ask them questions, which realize me to find how they work with the tonality, and to find if they find some characters in keys. I wanted to find how much is important the relief for the hands for them and how much they tend to make a detailed harmonic analysis. I also tried to find if the analysis is rather intuitive or conducted process for them. I interviewed very successful piano teacher Viktoria Kraf and three famous Czech pianists Jaroslava Vernerová, Miroslav Sekera and Jan Jiraský, the professor of the Janáček Academy of Music and Performing Arts in Brno. The answers of the pianists can...
|
|
|
Virtuosity in the etudes of Frédéric Chopin, Franz Liszt and Sergei Rachmaninoff
Pivoňková, Amálie ; Gregor, Vít (advisor) ; Tichá, Libuše (referee)
The bachelor thesis Virtuosity in the etudes of Fryderyk Chopin, Ferenc Liszt and Sergei Rachmaninoff deals with the study of virtuosity and virtuoso elements in the etudes of Chopin, Liszt and Rachmaninoff. The work first explains what piano virtuosity is and what it consists of. Based on this, the following chapters of the above-mentioned composers are examined and analyzed in the following chapters, as an ideal example of virtuosity. Chopin's Etudes are divided according to the issues that dominate them. Liszt's and Rachmaninov's etudes are not divided according to the issue, as they are more complex. They often contain a combination of multiple problems, and it is difficult to determine which one prevails. Despite the fact that they are not divided, they are treated in the same way as Chopin's etudes. According to the specific problems, the work finds out how to practice the etude and what pitfalls need to be overcome for the interpretation to be successful. At the beginning of the chapter, the author outlines the life destinies of the above composers. Thanks to a brief introduction of each of them, it is easier to understand the way in which each of them composed and what is characteristic of their creation. The thesis emphasizes that virtuosity is not just a technical matter, but a summary of...
|
|
|
Overview of Mongolian Classical Music and it's Significant Representative - Composer Sembe Gonchigsumlaa
Tunsag, Tsolmon ; Kopecká, Věra (advisor) ; Gregor, Vít (referee)
Music composer Sembe Gonchigsumlaa is considered as a founder of Mongolian classic music. His life and work essentially influenced a development of Mongolian classic music that's why I have chosen this topic as a title of my diploma thesis. The chapter one presents a brief description of the Mongolian political and cultural background from the early 20th century till today, it's the key to understand the development of Mongolian classic music. Mongolia was influenced by classic Western culture, introduced from Russia. In the end of the chapter are described notable music institutions of Mongolia. The chapter two is dedicated to the composer's life and work from his early steps of composing until the masterpieces. In the last chapter I focus on composer's concentration to the piano as a fundamental instrument of classic music. Gonchigsumlaa was involved in many musical institutions and guided the evolution to ensure systematical and methodical education of amateur, professional musicians and composers. Mongolian composers combine traditional elements with modern classic techniques to produce unique sounds and compositions.
|
|
| |
|
| |
|
|
Comparison between fine art and musical pieces of composer Luboš Fišer
Kůsová, Lenka ; Bláha, Jaroslav (advisor) ; Gregor, Vít (referee)
This diploma thesis deals with comparison of five musical pieces of composer Luboš Fišer with fine arts. The thesis is divided in the two parts. In the first part we analyze general art trends in 1960s. We will make reference to the most important trends and personalities, who composed and painted in that age. We will also compare literature, fine art and music in Czech Republic in 1960s, which were the best years of Fišer's work. The second part of the thesis describes in detail five Fišer's pieces, which were composed in 1960s. These are Ruce - Hands (1961), Patnáct listů podle Dürerovy Apokalypsy - Fifteen Prints After Durer's Apocalypse (1965), Caprichos (1966), Double (1969) and Nářek nad zkázou města Ur - Lament over the Ruined Town of Ur (1970). Analysis of those pieces is based on comparison with inspiration sources (Albrecht Dürer: Apocalypse, Francisco Goya: Caprichos, old Sumer text called Lament over the Ruined Town of Ur) or it is based on comparison of Fišer's composition method with fine art piece (Double) or it is analyzed just from the semantic point of view of the piece (Hands). Goal of this work is to present composition of distinguished Czech composer Luboš Fišer to general public using analysis of his pieces. In the future, this work should be used for creation of composer's monograph...
|
|
| |
|
|
Robert Schumann and his piano cycles composed between 1845-1850
Šanderová, Jitka ; Palkovská, Jana (advisor) ; Gregor, Vít (referee)
My bachelor thesis concerns the life of Robert Schumann and his piano cycles composed between 1845 - 1850, i. e. Album for the Young (Album für die Jugend) op. 68, Forest Scenes (Waldszenen) op. 82 and Multicolored Pages (Bunte Blätter) op. 99. The aim of this work is to put these cycles into the context of Schumann's life and his life-work, find the sources of inspiration and describe their role both from interpretational and instructive perspective.
|
|
|
Piano in the Work of Eugen Suchoň and Ján Cikker with regard to their Contribution to the Repertoire of Young Pianists
Majerová, Aneta ; Gregor, Vít (advisor) ; Bělohlávková, Petra (referee)
Vo svojej práci o hudobných skladateľoch Jánovi Cikkerovi a Eugenovi Suchoňvi venujem pozornosť vstupu obidvoch skladateľov do slovenského hudobného života, ich životným osudom a sumárnemu hodnoteniu ich klavírnej tvorby v kontexte vývoja slovenskej hudby 20.storočia. Z dostupných prameňov a literatúry prenášam poznatky súvisiace s problematikou hry na klavíri, v snahe priblížiť túto klavírnu literatúru vo výchovnovyučovacom procese ZUŠ, čo mi umožnilo pôvodne nepredpokladané stretnutie s životopiskyňou a celoživotnou priateľkou Jána Cikkera PhDr. Mariannou Bárdiovou, vedúcou Literámo-hudobného múzea (LHM) - Štátnej vedeckej knižnice v Banskej Bystrici. Práca môže byť praktickým prínosom pre učiteľov a žiakov v podmienkach ZUŠ, pretože vybrané skladby sú v praxi využívané pomerne ojedinele, aj keď by to prospelo k vnímavosti detí k ľudovej hudbe a k zblíženiu žiakov českých a slovenských v oblasti jazykovej. Powered by TCPDF (www.tcpdf.org)
|
guest ::
RSS feed.