Original title:
Zákonitosti orchestrální hry a jejich význam pro dirigenta v procesu studování díla
Translated title:
Regularities of orchestral play and and their significance for the conductor in the process of studying a piece
Authors:
Vrabec, Ondřej ; Bělohlávek, Jiří (advisor) ; Bělohlávek, Jiří (advisor) ; Farkač, Hynek (referee) Document type: Master’s theses
Year:
2007
Language:
cze Publisher:
Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna Abstract:
[cze][eng] Studie se zabývá problematikou specifických zákonitostí orchestrální hry. Jejich znalost je pro dirigenta prvořadým předpokladem pro dosažení uměleckého cíle rychlou a efektivní cestou. Zkoumané pole zasahuje do tří hlavních tématických okruhů. První je věnován zákonitostem tvorby orchestrálních barev. Přibližuje význam zvukové barvy jako indikátoru správnosti postupů herní techniky a souhry skupiny stejnorodých nástrojů v časových mikro ? intervalech. Pojednává o specifické schopnosti některých nástrojů zahušťovat orchestrální zvuk, včetně návrhu řešení. Zamýšlí se nad otázkou účelného využití vibrata coby výrazového prostředku ve vztahu k barevné kvalitě zvuku. Popisuje techniky přesvědčivého spojování instrumentálních barev. Okrajově se dotýká i vlivu rozsazení orchestru na výsledné zvukové podání a principů chování zvuku v akustickém prostoru.
Druhý okruh je věnován intonaci. Akcentuje neoddělitelnost tónové barvy od přesvědčivého intonačního výsledku, zevrubně analyzuje problematiku kolísavosti orchestrální intonace, střetu temperovaného a přírodního ladění, sdružené intonace nástrojových sekcí, vlivu rozsazení na intonační orientaci hráčů, vyvážení a ladění souzvuků a dalších zákonitostí.
Třetí okruh shrnuje zákonitosti herní psychologie. Zabývá se vzájemnými vztahy dirigenta
a orchestru a hledá cesty, jimiž může dirigent být hráčům v této oblasti při hře nápomocen.Every game has its rules. A person with a healthily developed social instinct learns to respect them already since an early age. Have you crushed another person's mud pie, have you had your eyes open during the game of hide-and-seek, haven't you paid a forfeit while playing spin the bottle? Out goes you! Game rules are one of the few real examples of equality among people. In principle, while disregarding individual abilities, everyone has the same starting conditions on the starting line. Neither is the orchestral play spared the necessity of rules. They are numerous, highly sophisticated and moreover, they are individually tinged and vary from one ensemble to another. As human society has not managed, in the thousands of years of its existence, to establish rules for observing rules (and it could not have been managed), thus rules are being broken in the relationship of the conductor and the orchestra. What is more, many conductors do not have an idea about their existence. However, looking for rules and understanding them is a necessary precondition for achieving any artistic aim in a quick and effective way. Unfortunately they are not taught at schools, nor dealt with in books. In accord with my previous bachelor work I claim that the door to fully comprehend the rules will be opened mostly to the conductors, who learnt to know the orchestra from the inside and gained an irreplaceable experience of an orchestral player. The others must obtain necessary knowledge in the painful manner of trial and error virtually in the course of full operation of the orchestra, if they are motivated to look for them at all (in the best of cases). This study attempts to analyze some of the key rules of orchestral play in association with particular conductor approaches (introduced anonymously), so that it can hold the mirror of self - reflexion up to the conducting profession. The mirror is small with its format A4, but it is highly transparent and thus it brings a picture (to me at least), which is not distorted in any way, the picture of different prerequisites for the profession of a conductor and an orchestral player...
The work is divided into three major thematic spheres. The first one is concerned with the laws of creating orchestral colours. It illuminates the significance of sound timbre as an indicator of correctness of play technique practices and coordination of a group of homogeneous instruments in time micro - intervals. It deals with the specific ability of some instruments to thicken orchestral sound, including solution proposals. It ponders on the question of an effective use of vibrato as a means of expression in the relation to the timbre quality of sound. It describes techniques of blending instrumental timbres convincingly. It also touches marginally upon the influence of the seating of an orchestra on the resulting sound performance and principles of sound behaviour in an acoustic space.
The second chapter is dedicated to intonation. It emphasizes that a convincing result of intonation cannot be separated from tone timbre. It analyzes in much detail the problematics of fluctuation of orchestral intonation, the clash of tempered and natural tuning, combined intonation of instrumental sections, the influence of seating of an orchestra on the intonational orientation of players, balancing and tuning of consonances and other laws.
The last chapter concerns psychology of the play. It deals with mutual relations of the conductor and orchestra and it seeks ways in which the conductor can assist the players during the play from the psychological point of view.
Institution: Academy of Performing Arts in Prague
(web)
Document availability information: Available to registered users in the Digital Repository of Academy of Performing Arts. Original record: http://hdl.handle.net/10318/4217
guest ::
