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National Repository of Grey Literature 2 records found  Search took 0.00 seconds. 
BREATH AND EMBOUCHURE EXERCISES FOR SAXOPHONE
 Rajnošek, Bharata ; SLOVÁČEK, Antonín (advisor) ; SOUKUP, Luboš (referee)
This thesis called Breath and Embouchure Exercises for Saxophone deals with the methodology of teaching techniques on the saxophone in a broader sense of all influences on tone creation. It begins with physical posture, continues with basic breathing techniques and only after their expected mastering proceeds to special techniques, which allow mastering of embouchure techniques and habits. This thesis follows and complements the publication of David Liebman: How to Play the Saxophone. The author goes more in depth where Liebman is too brief. He is not satisfied with just enumerating playing techniques but tries a view from the other side - from quality-aesthetic requirements to individual exercises. The focus of the thesis is to develop of a comprehensive system of exercises that leads those concerned through individual successive steps towards the ideal mastery of the tone creation technology. The aim is to provide reassurance to seekers on their way. The author as a teacher makes his proven system available also for other students.
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Structural elements on music of Miles Davis
 Rajnošek, Bharata ; SLOVÁČEK, Antonín (advisor) ; KOP, František (referee)
The thesis "Structural elements on music of Miles Davis" deals with the transformation of the jazz paradigm, briefly touches several crucial moments in the precipitous life of the aforementioned jazz giant and tries to capture at least a few subjectively important moments in his life. The thesis also defines what jazz music means to its author, in brief also author's basic musical preferences. This relates also to his endeavour to grasp the jazz personality phenomenon and within this context also the personality of Miles Davis. The author tries to understand the uniqueness of Davis' contribution and influence on music in general. In a surprising conclusion the beginning of Davis' jazz-rock period emerges as the most important one. The author sees there a fundamental peak - the transformation of the very essence of jazz interpretation - a change in the approach to jazz song themes as the head of the whole composition. The song theme is replaced by a single motive or a phrase. This leads to a shift of live interpretation possibilities and also the most important shift in the development of the jazz paradigm and method of working with structural elements.
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