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Romani Folk Song and Possibilities of its Application in Music Lessons
Sebechlebská, Ladislava ; Pecháček, Stanislav (advisor) ; Bělohlávková, Petra (referee)
5 ABSTRACT Romani folk song is not generally known among Czech population, which is a reason why this thesis in its theoretical part tries to familiarize with its origin, describe historical development of Romani music and divide songs according to functions and close geographical areas of its occurrence, so that a comprehensive picture can be created for the readers. The following part brings analysis of five Romani dance songs, which are described musically, textually and semantically. This section is based on various songbooks and audio recordings to create as authentic a version of a song as possible. The songs are enriched of sheet music together with lyrics and harmonisation for better possibilities of their application. The thesis continues with a suggestion of eventual means of application of Romani folk songs in vocal, musical and physical education. Moreover, there are described analysed songs with Romani scatting suggestions, typical features of expression, dance steps and rhythmical moves, which are typically observed in Romani culture. The dance steps are added in a form of textual description as well as short video recordings to become easily comprehensible. The main aim of the work is to point out the vibrant and energetic character of Romani songs, to unite Roma with majority population and...
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Codes of dance improvisation: The case of Intuitive Dance
Orlova, Kseniia ; Zaccarello, Benedetta (advisor) ; Marcelli, Miroslav (referee)
The idea that dance can be understood as an act of communication and a form of language has been already taken into account by scholars. The hypothesis that will be discussed in this MA dissertation concerns a more specific matter: a semiotic approach to different forms of dance improvisation, and notably the method traditionally labeled "intuitive dance". To understand this phenomena two main concepts will be conveyed: that of "quotation" understood via W. Benjamin's essays on Brecht, and that of "notation", as defined by N. Goodman in his Languages of art. Can we understand dance as a language - id est a quotable and notable code - even in its more intuitive forms? How is it possible to "understand", "quote" and "address" gestures, even in front of a wide heterogeneous audience and without any prefixed choreography but only on the base of a free and in-time creating process? Can we understand improvisation as a complex code? what and how does this code mean? Keywords: improvisation, Intuitive Dance, semiotics, notation, gesture, Nelson Goodman, Walter Benjamin, dance, code
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Application of Orff Schulwerk Principles in Music Education at the General František Fajtl DFC Primary School in Letňany
Koňaříková, Karolína ; Tichá, Alena (advisor) ; Hurníková, Kateřina (referee)
The diploma thesis examines Orff Schulwerk as a system of thoughts applicable to music education and its use at General František Fajtl DFC Primary School in Prague 9. It briefly introduces Carl Orff as a pedagogue in the first part. It further describes the formation of Orff Schulwerk in Germany, its basic thoughts, its adaptation in Czechoslovakia and the birth of the Czech Orff's School. This thesis focuses in detail on a school, where music education is taught according to principles of Orff Schulwerk - General František Fajtl DFC Primary School in Letňany. Several chapters are also devoted to the founder of this concept Lenka Pospíšilová and her other projects. The last part of the thesis deals with the teaching of music education in classes with musical specialisation in the first and second grade of this primary school. Based on the research, it compares the teaching process of the two first-year classes with and without musical specialisation in the school year 2016-2017.
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Improvisation and personality: exploring the effects of practicing improvisational theater on the development of select personality characteristics
Vondráčková, Veronika ; Šípek, Jiří (advisor) ; Štětovská, Iva (referee)
This paper's first portion overviews the extant academic literature in an attempt to provide insight into the development of personality through the practice of improvisational theater. First, the author defines improvisation in relation to the broader concept of theater, identifies commonalities between it and play, and demonstrates its educational and therapeutic uses. She goes on to address the demands improvisation places on the actor's personality, with a focus on collaboration, creativity and spontaneity. Concluding the overview, the author explains the purpose of improvisation classes and, using the example of working with creativity, spontaneity and their inhibitors, describes how such classes facilitate the development of improvisation skills. In the paper's second portion, the author proposes a study designed to empirically assess the theory laid out previously. She suggests the use of an experiment to track the changes in selected personality traits over the course of a year of improvisation training.
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Game Principles in Czech Improv Theatre
Vlková, Markéta ; Just, Vladimír (advisor) ; Sarkissian, Alena (referee)
The main theme of this bachelor thesis is a reception of the czech improv theatre through game principles categories as Roger Caillois, the french sociologist, has defined them. The author of the thesis discover every single principle (mimicry, alea, agon, ilinx) in creations of some important personalities and subjects of czech improv theatre (Vlasta Burian, V+W, Ivan Vyskočil, Jaroslav Dušek, Improliga). Despite of strict quailification made by Caillois, she finds those principles functional together in a harmony. In the early chapters she tries to define the game phenomenon using various conception of the game from philosophical and sociological aspect. In addition, she distinguish the improvisation concept between improv in author's theatre and improv as the theatre sport. In the end of the thesis, she pays attention also to the role of entertainer which is the connecting character among all examined ways of improv theatre.
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Jazz in French Literature
Jonczyová, Michaela ; Voldřichová - Beránková, Eva (advisor) ; Jamek, Václav (referee)
Jazz in the French literature is not a typical subject of academic papers perhaps due to the fact that the matter of jazz is generally assigned to the American culture. The aim of this work is to prove that even though jazz is established both from the aesthetic and mental aspect on the principles substantially different from the European cultural tradition, it is a topic which has been richly elaborated on in the French literature. In the first part of this work we provide a complex insight into those principles as well as on the possibility of the transfer of jazz into literature. In the second part we describe the coming together of jazz and the French culture and its presence in selected literary works of Pascal Quignard, Boris Vian, Philippe Soupault and Jean Cocteau. The final analysis of the life and work of Christian Gailly serves as evidence that the jazz makes the French literature approachable for the world, resulting in a text which is at the same time lively and unconventional both from the formal and substantive point of view.
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Once there were two, or "inspired acting" of Miroslav Horníček and Miloš Kopecký
Řezáčová, Tereza ; Just, Vladimír (advisor) ; Topolová, Barbara (referee)
Synopsis This diploma thesis describes an artistic cooperation of two czech actors Miroslav Horníček and Miloš Kopecký who had been acting together from their beginnings in the Avant-garde Větrník Theatre, the Satira Theatre, the National Theatre and even the ABC Theatre where they started to perform as a comic duo. They brought a humour of the Osvobozené Theatre back to the stage while they set the theatre poetics on, particularly in an improvisational revue called Tvrďák. Their short artistic cooperation finished in Karlín Musical Theatre where were presented both of the author's plays. One of them was standing on the top and the second one on the bottom of spectator's interest. The main focus of my master thesis is based on the analysis of their common productions and on the final appreciation of that artistic duo whose exceptionality mainly consisted of an outstanding acting, a brilliant intelligence and a quick volubility.
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Instability of Character in Sam Shepard's Work of the 1970s
Lauer, Martin ; Wallace, Clare (advisor) ; Roraback, Erik Sherman (referee)
The purpose of this thesis is to undertake a thorough analysis of Sam Shepard's approach to the character in a selection of his plays from the 1970s. Instead of approaching characters as compact entities with fixed character features the thesis focuses on their instability and changeability and attempts to ascribe characters' transformations to dynamic non-subjective forces and to identify ego-loss as a partially liberating process that nonetheless confronts the characters with the unknown and is accompanied by fear of self-loss. From the theoretical vantage point of the collaborative writings of Gilles Deleuze and Félix Guattari, the thesis equates the transformations of Shepard's characters and their inability to locate the "self" with the schizophrenic experience. As a musical genre based on variability, jazz, as well as its inherent form of expression, improvisation, are utilized as points of departure in the analysis of characters' instability in plays Suicide in Bb and Angel City. Furthermore, in Angel City, the phenomenon of film in the USA and the desire for success and fame intensified by it are perceived as instruments of manipulation and illusion, which characters easily succumb to and which severely alter their sense of reality. Moreover, the environment of filmmaking is introduced as a...
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