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The work of conductor in section of wind instruments
Spilka, Vít ; KOUTNÍK, Tomáš (advisor) ; SVÁROVSKÝ, Leoš (referee)
These bachelor thesis are focused on work of conductor in wind intruments section as a part of symfonic orchestra. Thesis creates complex of important information for work with sections of wind instruments, individual chapters are looked for solution in branch of tuning, balance of sound, instrumentation, acoustics of concert hall together with methodology approach to winds as a whole. First chapter is focused on different systems of tuning and its suitable application in music working. In second chapter is described characteristic of wind instruments and its particularity including acoustic and design attributes. The third chapter is aimed to methodology of winds: tuning, balance of the sound, rhytmical precision, position of musicians at the stage atc. The fourth chapter deals with field of instrumentation and contains examples of its solution. The fifth chapter is written as a reflection on acoustics of concert halls including of balance of the sound.
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Rafael Kubelík's aesthetic preferences in the light of the Munich sources
Kraftová, Nikol ; Ottlová, Marta (advisor) ; Gabrielová, Jarmila (referee)
This dissertation deals with the aesthetic opinions of conductor Rafael Kubelík as evidenced in the materials available in archives and cultural institutions in Munich as well as in the recollections of Bavarian Radio Symphony Orchestra members from the time of Kubelík's direction of that ensemble. The study includes an overview with commentary of the repertoire performed by Kubelík in subscription concerts by the Bavarian Radio Symphony Orchestra, which along with Kubelík's comments and in comparison with the programme of other guest conductors indicates Kubelík's programming activities and probably his musical preferences. This study also discusses Kubelík's interest in opera and his ideas on its staging and production. Other chapters deal with Kubelík's qualities as a conductor and the specific demands he made on his performers. It also includes a curriculum vitae of Rafael Kubelík and a number of recollections by people who knew him, all of which serve to fill out the overall picture of Kubelík's personality.
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František Jílek, distinguished conductor of Janáček Opera Brno
Kružík, Robert ; PETRÁŠ, Miroslav (advisor) ; BERNÁŠEK, Václav (referee)
Almost twenty three years after the death of František Jílek, his name is still well known in the narrow professional circles. I myself associate it since my early childhood with the Janáček music and the interpretative precision of his own, which all the musicians remember, who have worked with him for years. In this work I will focus particularly on Jílek´s period in the position of the Chief of the Brno Opera. I will demonstrate his diligence by many reviews of his premiere Opera titles, which have been a lot in almost 30 years of his acting at this position. Furthermore, I would like to mention his teaching at the music faculty of JAMU and the five year term at the position of the Chief conductor of the State Philharmonic Brno.
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Leoš Janáček " Glagolitic Mass
Kružík, Robert ; MÁTL, Lubomír (advisor) ; SVÁROVSKÝ, Leoš (referee)
Works of Leoš Janáček were always very close to me. I grew up listening to them , when I was a child I listened to his operas many times in the Janáček Theatre, where my father worked for years. I was therefore very excited to delve myself into the work of the Glagolitic Mass, and I am also sure that it is very good material to write a thesis. In the main part of this work I´m going to focus on comparing different interpretive approaches, because we can interpret Janáček´sworks in many different ways and it is hard to determine which is the right one. Me as a native of Brno, i inclined to the "Brno" tradition of interpreting master´s works. I´m very curious about all the different interpretations, above all Sir Charles Mackerras, who is credited with promoting the Janáček music in the world.
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Personality of conductor instrumentalist
Kružík, Robert ; OLIVIERI-MUNROE, Charles (advisor) ; KOUTNÍK, Tomáš (referee)
Today is the art of conducting distinctive art direction and is considered to one of the most difficult and also it the most prized among musical disciplines from many angles. But it was not always the case. This work discusses the genesis of this relatively young discipline in terms of independence, separation from the rest of the related disciplines and the rise of the legend of conductor. The next part is devoted to short improvised interviews with celebrities, whom it directly affects. Finally the work is supplemented by author own opinions and the overall summary.
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The swedish choral phenomenon.
Hájek, Michal ; KOUTNÍK, Tomáš (advisor) ; BRYCH, Jaroslav (referee)
In Sweden there is a large amount of top-class choirs today as well as lots of excellent and demanding compositions for a cappella with professional ensembles. In my master thesis I analyse this interesing phenomenon. In the first chapter I take a look at the history. I examine various aspects which had formed Swedish choral art in the 18th and 19th centuries. In the second chapter I describe the development of the Swedish choral music in the 20th century, especially the activities of a famous choirmaster and teacher of music, Eric Ericson. In the third chapter I analyse the nature of the Swedish choral sound ( attaching also some recordings). In the last chapter I present a few excerpts from the scores of the crucial Swedish choral music pieces of the 20th century. It turns out that the Swedish choral miracle is the result of a long-time development and that numerous historical, cultural, musical and sociological aspects are involved.
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RUSSIAN TRADITION OF CONDUCTING IN ST. PETERSBURG
Macek, František ; OLIVIERI-MUNROE, Charles (advisor) ; SVÁROVSKÝ, Leoš (referee)
Bachelor thesis describes the Russian tradition of conducting in St. Petersburg. The text aims to provide a comprehensive insight into the musical culture of the city, especially focusing on the conductor. The thesis points out the major institutions of the city: the Mariinsky Theatre, the St. Petersburg Philharmonic Orchestra and the State Conservatory of Nikolai Rimsky-Korsakov. The text emphasizes the work of three prominent conductors, who have greatly influenced these institutions and brought worldwide attention to them. These conductors are Eduard Napravnik, Yevgeny Mravinsky and Ilya Musin.
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Symbioza Choral and Instrumental Practices in my interpretative Activities
Tauchmanová, Hana ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
The impetus for writing this thesis was the fact that in my interpretive practice I devote myself to singing and playing the clarinet. For both of these fields the right way of breathing is crucial. Comparing the methodologies described in these fields with my own experience -educational, interpretive and educational . I am trying to find out in what way the methodologies for teaching singing and for playing the clarinet are similar, and on the other hand where there are differences. The aim of my thesis was to describe - based on my own experience - how the knowledge I gained while studying singing helped me at the beginning of the study of playing the clarinet, where just on the contrary, I was limited, and reciprocally how the knowledge gained during the study of playing the clarinet influenced my singing practice.
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STAGING OF AN OPERA PRODUCTION IN THE PERSPECTIVE OF A CONDUCTOR FROM THE ONSET TO THE PREMIERE
Bubák, Jan ; SVÁROVSKÝ, Leoš (advisor) ; BABICKÝ, František (referee)
The aim of the thesis is to deal with a complex description of tasks and processes regarding the entire musical preparation period of an opera production by a conductor. All actions are described from a practical point of view giving a clear insight in the ideal and desirable form of rehearsing and time management. At the same time, common shortcomings and difficulties that disrupt the ideal state are introduced.
An anaylysis of the choice of the right voice types precedes a linear description of the rehearsal process, checkpoint meetings and finally the stage rehearsal period. A special attetion is devoted to the tasks and functional profile of the conductor's assistant. A detailed description of past theatre practices and current form of the assistant's work is given together with an outline of his contribution to the superior level of the production.
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