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Laterality from the Pianist´s Point of view in the Context of 20th century piano literature
Žalčíková, Lenka Sarah ; Toperczer, Peter (advisor) ; Bilinská, Kvitoslava (referee)
This thesis describes the role of the left hand in piano works of the composers of 20th centruy, especially in leoš Janáček´s composition "Capriccio for left hand and wind instruments ensemble". You can find an alphabetical list of composers who dealt with this theme and list of all available compositions for left hand. A point of view of the pianists - veterans was very important - they encouraged the composers to write a solo left-hand works and so they contribute to distribution of these compositions. Also the left-handed pianists asked the composers for new compositions for left hand. Key words: Laterality, Janáček, Capriccio
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Contemporery piano schools
Bečejac, Jelena ; Bilinská, Kvitoslava (advisor) ; Malý, František (advisor) ; Klánský, Ivan (referee)
In my master´s thesis I focus on the analysis of piano schools which I use in my pedagogical practice and consider to be a very suitable material for piano playing teaching at an early stage. These schools are European piano school by Fritz Emonts, New piano school by Zdena Janžurová and Milada Borová and Piano schools by Miroslava Lili Petrovic.
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Petr Eben: Piano Trio
Fialová, Terezie ; Leichner, Emil (advisor) ; Bilinská, Kvitoslava (referee)
I would like to begin by mentioning how long I pondered the overall structure of my thesis. Peter Eben´s work, nowadays unfortunately already completed, has been subject of broad scale scholarly interest. Although there are two major works dealing with this topic, I still think there is a significant lack in detailed analysis of his works one by one. This is the reason of my focusing on his Piano Trio, a piece I myself have performed and subsequently also recorded in a studio. This personal experience should be the basis for my honest analysis of this work. I start the thesis with the author´s brief biography, followed by a short overview of his works of other genres, which are all very well worth noticing. After this introduction I analyze the Trio itself. I hope it will be an interesting and capturing piece of reading, opening to the reader yet unexplored niches of Eben´s work.
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JAPANESE PIANO TEACHERS
Saitoh, Hatsumi ; Bilinská, Kvitoslava (advisor) ; Toperczer, Peter (referee)
Japanese built up own position in the world of Western, especially European music for hundred years. Fast growth apperes escecially in piano performance and its related piano school, methodology and pedagogy. This thesis deals with history of Japanese piano pedagogy and its representatives, who affected such a big growth.
The big anxiety for Europe dominated in Japan about hundred years ago and Japanese started to take over Westeren music uncritically. Japanese started just to imitate Western music, without experiences of real artistic performance and thought of its bases and history. Hard work and diligence put Japanese near by real Westeren music before the Secound World War, but after that piano pedagogy directed to the different way. Anxiety for success in the competition caused to exaggeration of mechanical finger training, in consequence of that many non-musical pianists came up. Today Japanese make efforts to solve those problems and positive outcome apperes.
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CTIRAD KOHOUTEK - THE LIFE OF A COMPOSER
Böhmová, Veronika ; Klánský, Ivan (advisor) ; Bilinská, Kvitoslava (referee)
The thesis explores the musical personality of Ctirad Kohoutek. His childhood, adolescence, and years of study are covered as well as his time as professor at JAMU and HAMU and as director of the Czech Philharmonic Orchestra. He is portrayed as an astonishing and humorous person who has striven to gain perspective and distance throughout his life, which is illustrated by memories of some of his students (Prof. Otomar Kvěch, Prof. Stanislav Hochel, Prof. Radko Tichavský and Prof. Jiří Churáček) at the end of the text. Apart from critiques and art awards, the annexes list all Kohoutek?s works published to date. (That is because he still is a very active composer).
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W. A. Mozart: Piano concerto No. 20, d minor, KV 466
Fančovič, Peter ; Lapšanský, Marian (advisor) ; Bilinská, Kvitoslava (referee) ; Langer, Miroslav (referee)
In this work I tried to analyse Mozart´s piano concerto in d minor on the basis of the knowledge I achieved so far.
In the introduction, I mentioned my motivation for writing this paper.
The first chapter is a brief look into the life of Mozart, particularly to his childhood, which was essential for the development of his personality.
In the second chapter, I sketched out a list of Mozart´s piano concertos and added a few notes about the circumstances under which the concertos were composed as well as interesting facts about their formal structure.
However, it´s only a brief description that serves mainly as an introduction to the third chapter.
In this chapter, I was solely concerned with the concerto in d minor. The chapter begins with a short passage about how this concerto was composed and about its premier performance.
The next four sub- chapters contain an analysis of each movement along with a discussion about the cadences.
The fourth and fifth chapters discusses two interesting aspects related to the d minor concerto the use of the pedal that Mozart may have used while performing this concerto and the use of basso continuo.
At the end of my paper I wrote about the significance of adhering to the musical text with possible conseqenses that accompany a performer that does not follow the composer`s instructions. Another issue my conclusion adresses is the opposite; when a pianist becomes a slave of the musical text.
My paper is concluded with a list of works cited.
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