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THE MENTAL REPARATION BEFORE a CONCERT
Zelinková, Antónia ; Boušková, Jana (advisor) ; Boušková, Jana (advisor) ; Rak, Štěpán (referee) ; Zelenka, Milan (referee)
The work contains glance at interpretative art from various points of view. However the work is focused predominantly on the practical and moreover on the mental preparation which is usualy not given as much attention as it needs. In this work I analyse student of musical interpretation art, how he thinks while studying certain piece of musical art, the most common mistakes he makes and wrong approaches he takes not only while studying the musical art but also while interpreting it.
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Harp in Leoš Janáček's operas
Bartoníková, Pavla ; Kodadová, Renata (advisor) ; Kodadová, Renata (advisor) ; Zelenka, Milan (referee) ; Rak, Štěpán (referee)
My diploma work deals with the utilization of a harp in Leoš Janáček's operas. The dissertation is divided into eleven parts.Separate Janáček's operas follow after an openning in the order when the operas were composed. I study the conditions of creating each of the operas and also I was interested in the action of each of them at first and then I deal with the role of the harp in the opera, mainly in the point of view of an orchestra player. In the closing chapter I summarize the general usage of the harp in all of Janáček's operas.
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Position harp in music by the year 1720
Šebesta, Pavel ; Boušková, Jana (advisor) ; Boušková, Jana (advisor) ; Rak, Štěpán (referee) ; Zelenka, Milan (referee)
Subject those work is position harp in European music by the year 1720, when discovered first pedal- activated systems. The earliest known use of the word hearpe was by Venantius Fortunatus, Bishop of Poitiers, in about 600. Early medieval Latin terminology is also ambiquous. Cithara was used for both lyres and harps, kytharis etc.Confusions as to terminology still existed as late as 1511, when Virdung wrote: What one man names a harp another calls a lyre.The harp's use ranges from reliqious ritual to pure entertainment. Harpists are depicted in royal chambers, salons, banquet scenes and processions as soloists or in ensembles.Harpists have accompanied themselves singing ballads, reciting oral history and epic poetry or accompanying rituals of various types. In the ancient world, solo harpists and harpists in large ensembles were usually men while harpists who played in small chamber ensembles were often women.
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