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The influence of musical activity on human personality
Dombaiová, Lenka ; LEICHNER, Emil (advisor) ; KLÁNSKÝ, Ivan (referee)
The aim of this work is to acquaintance the reader with the unique influence of instrumental activities of instrumentalists on their physical, psychological and mental qualities and to summarize the available expertise on how long-term play a musical instrument operates on neurological development of player and affect the function and structure of his brain. The work also describes specific differences in the brain of a musician and a musician and course of studies that have come to these findings. Finally, also includes health problems that relates to instrumentalists.
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Alternative methods of treatment of professional diseases of pianists
Hasmanová, Adéla ; MALÝ, František (advisor) ; LEICHNER, Emil (referee)
Play on piano is one-sided movement activity. During this activity is burned our upper body mainly our arms and back. During overworking of particular part can get hurt the playing apparatus. Aim of this work is to map the most common diseases of pianists, to focus on symptoms and causations and mainly to find out options of alternative methods of treatment of professional diseases. Thesis will be focused on a detailed description of two methods – Feldenkrais method and Alexander technique.
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Piano Trio g minor op. 15 by Bedřich Smetana - Analysis Of Composition
Králíčková, Klára ; MALÝ, František (advisor) ; LEICHNER, Emil (referee)
The bachelor thesis deals with an analysis of the interpretation of the Trio g minor op. 15 by Bedřich Smetana. First chapter is dedicated to Bedřich Smetana´s chamber music. Then the reader is introduced into the historical circumstances of the formation of the Trio g minor and all the sources of author´s inspiration. After that the interpretative analysis of the Trio as the main focus of my thesis is presented. Used approaches of analysis are melodic, rhythmical, harmonical, instrumental, dynamical, formal and tectonic. Such a complex view of these chamber pieces enables a deeper insight into their complexity and also serves to a convincing interpretation and better understanding of the Trio g moll op. 15.
The thesis is divided into the introduction part, three main chapters with several subchapters and the conclusion. As well, six attachments are added.
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Musical and pianistic contribution of the sonatas of Domenico Scarlatti
Vrtiška, Karel ; KASÍK, Martin (advisor) ; LEICHNER, Emil (referee)
The goal of the work is to amplify the volume of respectable academic work dedicated to the pieces and life of Domenico Scarlatti which is not, even nowadays, much abundant in the Czech language. The author's effort was also to help other interpreters of Scarlatti's sonatas, who might be reading this work in the future, to familiarize with pieces of knowledge on the sonatas which has not been widely known and to get valuable and inspirational stimuli that may help them when practising.
The work is focused on the form of the sonatas and on solution of technical difficulties, which, considering the period of their origin, are much unprecedented. It were these analyses that help the author elucidate the thematic field that can be also found in the title of the work - musical and pianistic contribution of the sonatas of Domenico Scarlatti.
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Piano Work of Viktor Kalabis
Kollert, Jiří ; LEICHNER, Emil (advisor) ; MALÝ, František (referee)
Viktor Kalabis (1923 - 2006) is one of the most significant Czech composers of 20th century. His piano works extent is exceptional among output of his contemporaries (two piano concertos with orchestra, three piano sonatas and six other compositions for piano solo). Most of his works are recorded and published.
This dissertation concerns the personality of Viktor Kalabis, a characterization of his musical language and his approach to piano as a tool to express music. This instrument was closest to him and he often devoted to piano the most inner feelings. My aim was to explore his work from interpreter's point of view, the evolution of composer's musical language, the use of instrument's potential as well as new approaches and creation methods. I intended to engage the interest of pianist to V. Kalabis and remarkable qualities of his piano works. I have performed his music at important events (festival, Czech Philharmonic Orchestra concert season) and a concert dedicated to composer's anniversary was recorded by Czech Radio to be later released on CD.
I used the musical analysis as the basic method. I observed the form, harmony, rhythm, usage of instrument's sound, timbre; in concertos also the role of the piano and of the orchestra.
Kalabis wasn't a trendsetter of the avant-garde and he didn't adopt dodecaphonic technique, however he studied it and implemented some dodecaphonic principles. For some period he worked in neoclassicism and shortly neofolklorism styles. He built on traditional harmony, which he enriched with seconds and sevenths proceeding to bitonality and partially also to atonality. He uses both traditional and free forms. Innovation can be found above all in original sound, in creative grouping of instruments and in dramaturgical content of the piece. He laid stress on composition's revealability and listener-friendly character, without being pandering. He created original "non-romantic synthesis" musical language.
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Motivation at the Piano
Németh Čabalová, Ivana ; MALÝ, František (advisor) ; LEICHNER, Emil (referee)
The aim of this thesis was to analyse the process of the motivation related to the artistic activitie, specifically the piano in all its breadth. Introduction of this thesis is devoted to pure motives that led to deal with this issue. The ending of this thesis is conceptually the same as the introduction and it has the space for the author's personal contribution and feelings that have become the core for all the work, without which the topic of this work certainly would not arouse the author's attention and would not become the topic. The work is clearly built in two sections.
The first is theoretical, which aims to build a clear view of all important psychological terms that are related to motivation, and without these the work would be hardly uniform and would not show a view to sort out the issue. More details define motivation terminology, explain the differences between categories, which could easily blend into confusion, and attempt to systematize the entire hierarchy of used definitions. In the second part there is the issue of motivation applied exclusively to piano as a single level. The proceed is clear, from chapters about young children and their understanding ability, to chapters about adult pianists and individuals in any role related to the piano, just who has an active attitude to the instrument.
The second part aims at a comprehensive insight on the development of artistic personality, whether professional
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A. N. SCRIABIN: PIANO ETUDES
Erlebachová, Marie ; MALÝ, František (advisor) ; LEICHNER, Emil (referee)
This thesis focuses on the personality of Alexander Nikolayevich Scriabin and his piano etudes, which are a source of technical skills for the study of the artist's other works. The main scope of work is to include all aspects that can assist the artist or piano lecturer in their study, ie. Etudes inclusion in the context of the composer's life and his entire piano works, profiling etudes by technical demands on performers, individual characteristics etudes and last but not least, formal analysis and interpretation of the author's etudes. Finally, work is a summary of general features that are common to all etudes and an outline of the author's musical development, which in the course of writing etudes passed.
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Folklore Music tradition in Lachia
Satinská, Tereza Joanna ; KLÁNSKÝ, Ivan (advisor) ; LEICHNER, Emil (referee)
The thesis is a study that focuses on folklore songs and folklore music in the region of Lachia. It intends to describe Lachia from the etnographic point of view as well as from the perspective of the region known as small Lachia concentrating on the region of Frýdlantsko. The inseperable part of Lachia is its dialect that forms the nature of the spoken language and songs and it has a unique onomatopoeia. This the reason why a significant deal of attention is paid to the dialect in Lachia in this thesis.
The main topic of the thesis is the study the folklore music in Lachia. It includes a detailed description of various types of Lachian songs, their uniqueness and puts them into connection with folklore dancing because folklore songs and dance comprise an undivided whole in Lachia.
There exist many foklore bands, mostly cimbalom bands, in Lachia as well as in the neighboring Valachia and further in the Moravian Slovakia. The repertory of local bands consists mostly of lachian songs and the majority of bands accompany dancing and singing performances of folklore groups, apart from their usual art activities.
The thesis shows that the main function of folklore bands is to preserve the folklore music tradition in Lachia. The irreplaceable role of folklore musicians is obvious in the chapters that describe the activities of bands. Chapters that monitor the families of musicians show the mucis continuity between generations and interconnections of families.
The most attention is paid to the family of Kotek, thei band and mostly to the significant local musician, singer, teacher, collector and music publicist ? Mr. Štěpán Kotek.
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Fugue and its development in the piano literature from baroque to 20th century
Voráček, Pavel ; Bartoš, Jan (advisor) ; Leichner, Emil (referee)
The main objective of this work is to identify, summarize and clearly organize the characteristic features of various stages of long-term development of fugue from origination of its roots until the mid-20th century with a closer view of the fugue in the piano work. This period is delimited by the work of the consummator of the Baroque fugue - Johann Sebastian Bach - at its beginning, and by the 24 preludes and fugues, the work of Dmitri Shostakovich - a pandanus to Bach´s Well-Tempered Piano - at the end.
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Russian piano school - Lev Naumov
Doležel, Ladislav ; Leichner, Emil (advisor) ; Malý, František (referee)
Abstract
In this work I tried to describe genesis of russian piano school with concentration on one of the most pivotal personality of this direction, professor Lev Naumov.
In the introduction I mentioned my motivation for writing this thesis.
The first chapter aim at determination of the term russian piano school and confronts views about its existence.
The second chapter summarize in six subchapters initial period of development of russian piano school in 19th century, which is represented by such pianists as John Field, Anton and Nicolai Rubinsteins, Theodor Leschetitzky.
The third chapter describes the formost personalities of russian piano school in 20th century. Its two subchapters are focused on Alexander Goldenweiser and Samuil Feinberg.
The fourth chapter discuss about life and contribution one of the most distinguished pedagogues of russian piano school ? Heinrich Neuhaus.
The fifth chapter is dedicated to the most famous pianists from Neuhaus´s class ? Sviatoslav Richter and Emil Gilels. The third section briefly discuss the personality of Neuhaus´s son and assistant Stanislav Neuhaus.
The sixth chapter analyses in detail lifeand pedagogical activity one of the last Neuhaus assistants, profesor Lev Naumov. The chapter is divided into eight subchapters, the last one is focused on Naumov´s assistant, pianist Konstantin Scherbakov.
The seventh chapter extends a view on the system of musical education established in Russia after revolution in 1917.
At the conclusion I write about influence of russian piano school on the world piano pedagogy.
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