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Attraction and Problems of the Antonín Dvořáks Piano Works
Víšek, Tomáš ; Palkovská, Jana (advisor) ; Gregor, Vít (referee) ; Havlík, Jaromír (referee)
This thesis endeavours to fill a gap in the specialized literature concerning the interpretation of Dvořák's compositions. His works for piano are often overlooked and marginalized. As this thesis was written at a pedagogical fakulty, it should be suitable as an expert guide for active performers who are interested in Dvořák's piano compositions. However, it will also be useful to those still on their way to discovering these works. There are step by step analyses of all the piano works for two hands. Very detailed musical examples and comparisons aim to bring their compositional beauty closer to the performer and also offer advice on how to overcome or avoid problems that may arise while studying them. (Dvořák was a competent pianist, but he did not have any continuous training nor indeed any desire to be a concert pianist.) This detailed study of the individual pieces is completed by a well-drafted summary of Dvořák's pianistic education and execution and concise information being gained through the previous analyses. Finally there is a passage outlining the suitability and choice amongst Dvořák's piano music for young musicians and a basic list of pianists dedicated to the performance of Dvořák's music in the Czech Republic and abroad. KEYWORDS - Antonín Dvořák - piano playing - piano...
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Interpretation of the piano works by Franz Liszt
Hutař, Daniel ; Gregor, Vít (advisor) ; Palkovská, Jana (referee)
The theoretical part of the thesis describes the live of Franz Liszt and his personality, focusing also on his personality, pedagogical work and innovative approaches in music. The practical part analyzes interpretation problems in his piano cycles Consolations, Harmonies poetiques et religieuses, Hungarian rhapsodies and Grandes Etudes de Paganini.
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Conception of Piano Pedagogy in Lisbon
Šrámková, Kristýna ; Palkovská, Jana (advisor) ; Gregor, Vít (referee)
My thesis is based on my studies in Lisbon (Escola Superior de Música de Lisboa), I bring deeper insight into the Portuguese piano pedagogy in the territory of Lisbon. The work is based on the system of Portuguese music education and describes the significant educational institutions of music. Piano pedagogy is defined in the historical development well - founded on available literature, more attention is given to some important personalities of teachers and composers in the field of piano music. Part of the work is dedicated to my personal reflection of Portuguese piano pedagogy and my own experiences with teachers, especially consultations with professor Miguel Henriques, who summarized pedagogical principles in his book The (Well) Informed Piano. KEY WORDS: piano pedagogy, Lisbon, Portugal, Miguel G. Henriques, The (Well) Informed Piano, Escola Superior de Música de Lisboa.
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General Educational Program and Music School
Šefčíková, Alena ; Gregor, Vít (advisor) ; Tichá, Libuše (referee)
The purpose of this diploma thesis is to find out, whether selected elementary art schools, operating under the same conditions in the same district, have chosen the same ways of creating and implementing SEP (School Educational Programme). The creation of SEP could be conceived either innovatively or by expansion of existing curriculum. The thesis also deals with the question, whether schools included in the research continuously work on their SEP and, simultaneously, whether they are able to edit and improve it according to the feedback and experience obtained in practice. The last area of research is an issue of teaching according to SEP. The thesis investigates its pros and cons from the point of view of each included school.
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Specifics of Piano Teaching of Preschool Children
Nohová, Vladislava ; Tichá, Libuše (advisor) ; Gregor, Vít (referee)
The thesis is devoted to the specificity of playing the piano preschool children. It combines the knowledge of developmental psychology, psychology of music and piano methodology with their reflection in practical teaching piano. The work is divided into five chapters, which i s based on key publications and developmental psychology of music in the Czech republic, theoretical works of contemporary piano teachers, piano course books and a survey carried out in the framework of a diploma thesis. The first chapter deals with the level of psychological development of preschool age and its reflection in piano lessons. The second chapter discusses the level of musical abilities of the child at the same age. Chapter three outlines further specifics in teaching pre-school children, dedicated to personalities of pupil and teacher as the main creators of the educational process, it refers to the methods used in teaching and not least about the role of parents in the education of their child. The fourth chapter summarizes the methodology selected piano teaching materials suitable for teaching children of preschool age. Final Chapter complements the work of the views of piano teachers on teaching preschool children.
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Clara Schumann. The woman, the artist, the teacher
Šanderová, Jitka ; Palkovská, Jana (advisor) ; Gregor, Vít (referee)
My thesis concerns the life of Clara Schumann (1819 - 1896), a major German concert pianist of the 19th century. It includes a list of her compositions and it describes her activities in piano pedagogy. Through the life of this extraordinary woman, her friends and contemporaries, the thesis provides deeper insights into the overall musical atmosphere of the 19th century. The thesis illuminates the importace of Clara Schumann and her lasting influence on European pianism.
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Piano Methods of the Present Day and Their Using in the Practice at Music Schools
Kroupová, Veronika ; Gregor, Vít (advisor) ; Tichá, Libuše (referee)
Bc. Veronika Landkammerová Résumé The thesis Contemporary piano methods and their usage in practice at Elementary schools of art deals with the most common and also the most suitable piano methods used in the Czech Republic. It's based on new trends at the turn of the 19th and 20th century, whose one of the pioneers was Ludwig Deppe. The issue is making music ideas and the need of using the weight of our arm while playing. It condemns the old methodology and gives examples. In the first part of the thesis there is described the evolution of piano - a musical instrument and the evolution of piano methods. These are interdependent of course. There was a quest to form a method only for piano which we can understand only if we know the historical changes. Since, in view of the fact that piano is a relatively young instrument we can't be surprised that its methodology of teaching is still a hot issue. The other parts are devoted to particular piano methods which are commonly used at Elementary school of art including examples of methodically obsolete methods. Unfortunately these are still very often used by many teachers. It's necessary to remind again that the pieces itself are not reprehensible but it's the method. On the other hand the thesis presents methods which are more or less suitable for teaching. It...
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Comparative Analysis of Arrangements of Armenian Folk Tunes for the Piano by Armenian Composers
Agopian, Vartan ; Nedělka, Michal (advisor) ; Gregor, Vít (referee)
Armenian music of today is largely influenced by Armenian folk music. Composers such as Sayat Nova and Gomidas Vartabed have left behind numerous tunes that are still sung today by Armenians whether in Armenia or the Armenian diaspora. This thesis comparatively analyzed piano arrangements of Armenian folk tunes by Armenian composers. The aim of this thesis is bifold: to find elements of piano arrangements that are commonly used by different composers and to introduce the riches of Armenian music to the Czech and International music communities. The comparative analyses revealed the existence of elements such as orchestral simulations, melodic and rhythmic variations, representations, composing introductions, and different accompaniment styles among the arragements of the same folk tunes by different composers or different folk tunes by the same composer at different levels of difficulty. Hence, the first aim of this thesis was verified, with the hopes of the second aim also being met and Armenian music being spread to all musical circles around the world. KEYWORDS Armenian music, folk tunes, arrangements, analysis, composers
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