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Repertoire for unaccompanied solo bassoon and specifics of its performance
Vonášek, Václav ; Herman, František (advisor) ; Seidl, Jiří (referee) ; Teml, Jiří (referee)
This dissertation thesis deals with the repertoire for unaccompanied solo bassoon. It describes its history and offers a closer look at the selected pieces (including transcriptions of Baroque pieces), as well as new playing techniques that are used in them. The emphasis is given to the performer?s point of view so the thesis discsusses practical aspects of unaccompanied playing and tries to bring solutions to technical problems. An extensive catalogue of works is also included. Two CDs containing sound samples and a studio recording plus a DVD recording of the doctoral recital represent the practical part of the thesis.
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Methodological rules for playing the clarinet and saxophone
Dittrichová, Lucie ; Hlaváč, Jiří (advisor) ; Herman, František (referee) ; Mareš, Vlastimil (referee)
My thesis deals with different modes of play, hence learning the clarinet and the saxophone. Besides the different and common
features of playing these instruments there is comparison and evaluation of some clarinet and saxophone methodological schools and their use in teaching in my work.
The main part of the thesis is a chapter that describes the first steps of clarinet and saxophone beginner, including the practise in playing the preparatory instruments (recorder, chalumeau, soprano saxophone), selection of appropriate equipment and daily exercise patterns.}
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Significant bassoon producers and makers of the world
Skalický, Radovan ; Herman, František (advisor) ; Seidl, Jiří (referee)
Bassoon is woodwind instrument with a conical bore, which is sounded by a double-reed and is used as a tenor or bass line of the woodwind section of the orchestra or chamber ensemble. Quite long evolution of bassoon begins in 1525 with instrument called Phagotum. This instrument is followed by dulcian made of one wooden part, through bassoon of the classical and romantic period, which was made from more joints, to the modern shape of instrument, which is known from first half of 19th century. In this time two main types of bassoon were established: French type (with subtle construction, softer sound and easier reaching of upper register) and German type (robust with a dark homogenous sound mainly in low register). German type, which now dominates in the whole world, was designed especially by Carl Almenraeder (1786 ? 1843) and Johann Adam Heckel (1812 ? 1877). Modern bassoon is made of maple wood and consists of five joints: bell, bass joint, butt, wing joint and bocal. As a sixth joint can we eventually count in a double-reed. In contemporary praxis there exist two sizes of the instrument: bassoon and contrabassoon, sounding one octave lower.
The most significant German-bassoon producers before Second World War were beyond Heckel also German firms Adler, Hüller, Kohlert, Mollenhauer and Mönnig. Current main producers of this bassoon type are: Amati (Czech Republic), Bell (Canada), Fox (USA), Heckel (Germany), Mönnig-Adler (Germany), Moosmann (Germany), Püchner (Germany), Schreiber (Germany), Takeda (Japan), Walter (Germany), Wolf (Germany) and Yamaha (Japan). French type of bassoon was formerly produced by Mahillon (Belgium), Boosey & Hawkes (England) and Morton (England). In these days it?s made only by Buffet-Crampon (France) and Selmer (France). Except for these producers wide range of historical replika?s can be mentioned. The most important are for example: Olivier Cottet, Laurent and Vergeat (Francie), Moeck, Rainer Weber and Guntram Wolf (Germany), Matthew Dart, John Hanchet, Graham Lyndon-Jones and Barbara Stanley (Great Britain), Peter de Robinson and Konningh (Holland), Robert Cronin and Ross (USA).
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Methodology for basson
Svoboda, Lukáš ; Herman, František (advisor) ; Seidl, Jiří (referee)
This thesis deals with the methodology playing the bassoon in the form and rules of School Education. The School Education Program for Elementary schools of art will replace the previously existing curriculum and will determine the compulsory teaching plan for the next years.
Firstly, I present the final version of The School Education Plan for Štefánikova Elementary school of art, which has the shape of a table and which is formally accurate. After that follows the Basic text of The School Education Program which includes more text and more options of the concept of teaching. The longest, methodical part of the work, where I describe various technical terms and important concepts, is based on the Basic text of the School Education Program.
The aim is to allow insight into the creation of the School Education Program and to clarify the meaning of terms.
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The Clarinet and its Genre Universality In The Music of 20th century
Slováček, Felix ; Hlaváč, Jiří (advisor) ; Herman, František (referee) ; Mareš, Vlastimil (referee)
The work deals with the genre versatility of the clarinet in the 20th century and
focuses on the interpreters who are situated on the border of the classics and jazz.
The first chapter mentions the general developement of the clarinet till nowadays.
The second chapter describes the use of the clarinet in various musical groupings
and in the non-artificial music. The third chapter focuses on the fundamental classical
compositions for the clarinet composed by composers that were influenced by folklore. The fourth and the fifth chapters contain the most important interpreters of the world and Czech scene who occured between the classics and jazz thei whole lives. In the last chapter there are my own findings and experiences from the crossover music.
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The Youth wind Orchestra of the Krnov
Horáková, Lucie ; Seidl, Jiří (advisor) ; Herman, František (referee) ; Koutník, Štěpán (referee)
The Czech Republic and especially north Moravia is well knowm for its tradition of wind music. The wind orchestra of the Krnov was established in 1961 right now it remains almost fifty years. During this time grow up into one of the best youth orchestras in Czech Republic. It is representing our country in many foregin countries (Europe, USA) and is a winner of many big competitions. For it succes the wind orchestra thanks especially Karel Dospiva who is artistic leader and conductor since the orchestra was established.
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The Wood-wind Trio in Creation of Composers of 20th Century
Vaňková, Simona ; Hlaváč, Jiří (advisor) ; Herman, František (referee) ; Mareš, Vlastimil (referee)
The Magister´s thesis under the title Woo-dwind Trio in Creation of Czech Composers of 20. Century treats in detail of the four czech important works for woodwind trio: Ervín Schulhoff - Divertissement pro hoboj, klarinet a fagot (1927), Bohuslav Martinů - Čtyři madrigaly pro hoboj, klarinet a fagot (1937), Iša Krejčí - Trio ? divertimento pro hoboj, klarinet a fagot (1935) a Klement Slavický - Trio per Oboe, Clarinetto in B e Fagotto (1937).
Chapters contain biografies of composers, their inspiration origins and grounds as well as analysis of each wind trio. There is special attention paid to original benefit of czech composers to European neoclassicism.
The thesis is completed with a list of another czech works for wood-wind trio of 20. century. A suplement contains scores of four analysed works.
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History and developement of bassoon reed
Soukal, Libor ; Seidl, Jiří (advisor) ; Hlaváč, Jiří (referee) ; Herman, František (referee)
History and development of bassoon reeds is a main topic of this thesis.The material, Arundo Donax cane hasthe key importance for the construction and and fiction of reeds.Relationship Between biological, chemical and physical feature sof Arundo Donax on one side and qualities desired for the proper fiction of reed on the odher is demonstrated. Reed making method is described in details.
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Sharon Kam
Lahodná, Jana ; Hlaváč, Jiří (advisor) ; Mareš, Vlastimil (referee) ; Herman, František (referee)
The thesis is focused on Sharon Kam, one of the most important and respected clarinetists nowadays. There are described her musical beginnings and the most important moments of her life and professional career as well as a list of her recordings and repertoir.
In the way of an interview there are presented her opinions about the way of playing the clarinet, methods for learning new pieces and other information concerning her atitude to life of a professional musician.
The specifics of Sharon´s interpretation are demonstrated on the analysis of the Phantasy Pieces op. 73 by Robert Schumann. Her interpretation of the piece and the atitude are compared with the performance of Michel Arrignon, a famous French clarinetist and teacher.
Attached there are described the breathing technics, which are crucial for Sharon´s ways of practising.
The influence of Sharon on my musical and artistical developement are also part of the thesis as well as the confrontation of our opinions and thoughts.
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