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Processing of non-musical themes in compositions for keyboard instruments
Živná, Tereza ; MRÁZKOVÁ, Giedre (advisor) ; BLAŽKOVÁ ŽĎÁRSKÁ, Petra (referee)
The bachelor thesis is focused for processing programme music in keyboard literature in second half of the seventeenth century in Germany with a focus on Johann Kuhnau and his Biblical sonatas. The aim of this work is outline idea perception of music in second half of the seventeenth century in Germany and focusing non musical themes, which were widely used in Baroque. I focused on the analysis of individual Johann Kuhnau´s Biblical sonatas and on combining the biblical story with music. The knowledge for me is the depth of this connection and the detailed thinking of baroque composers.
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Harpsichord compositions for two players until first half of 18th century
Krupková, Marie ; KNOBLOCHOVÁ, Monika (advisor) ; MRÁZKOVÁ, Giedre (referee)
This thesis focuses on harpsichord repertoire for two players – four hand pieces both on one and two instruments without accompaniment of the other instruments. Thesis includes pieces from 16th century to first half of 18th century.
The first chapter deals with the general development of keyboard music forms from Renaissance to Baroque era. It includes only those forms, which appears in repertoire for two players.
In the second chapter describes forms, musical style and its development in individual countries in Europe during Renaissance and Baroque.
The third chapter gives an analysis of concrete pieces for two players and describes its style and forms.
Last chapter is the list of four hand pieces until first half of 18th century.
Keywords: two harpsichords, four hands, two players, Renaissance, Baroque
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The Protestant Chant in Keyboard Literature from 1517 to 1685
Konečná, Kristýna ; MRÁZKOVÁ, Giedre (advisor) ; ŽĎÁRSKÁ, Petra (referee)
The thesis deals with the literature for keyboard instruments from 1517 to 1685, based on protestant chant melodies.
Vocal works are mentioned, i.e. both the monophonic protestant chant and it´s polyphonic settings, but instrumental works for keyboard instruments represent the main topic.
In the thesis, brief biographies of the most important composers (E. N. Ammerbach, J. P. Sweelinck, S. Scheidt, D. Buxtehude, J. Pachelbel) are presented, with short analyses of their works.
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J. A. Štěpán and his Music for Harpsichord from the Musical Archive in Kremsier
Žďárská, Petra ; MRÁZKOVÁ, Giedre (advisor) ; Willi, Barbara Maria (referee)
This thesis focuses on the interpretation of harpsichord sonatas written by Josef Antonín Štěpán / Joseph Anton Steffan (1726–1797), who was an important figure in Viennese musical life of the eighteenth century. His works influenced a large number of his contemporaries, including Joseph Haydn, Jan Křtitel Vaňhal, Leopold Koželuh, and Wolfgang Amadeus Mozart. His compositional procedures departed from period conventions: a number of his sonatas and concertos for keyboard instruments begin with a slow introduction to an opening fast movement; he experimented with one-movement forms (sonatas, capriccios); in 1778 he published the very first collection of Germans songs with piano accompaniment in Vienna. The foundation for his music is his detailed knowledge of counterpoint and thoroughbass practice, and he draws on influences from Italian music, Czech folk music, the Gallant style and the Sensitive style. In his late works, he even arrives at a Pre-Romantic style. It is incomprehensible that he has nearly been forgotten in spite of his fame in his own day.
In an attachement there is enclosed a critical edition of Steffan´s sonatas, PicŠ. 19–21 issued in ARTA (April 2017).
Key words:
Joseph Anton Steffan / Josef Antonín Štěpán
Sonatas for keyboard instruments
Sonata form
Interpretation
Chamber music with harpsichord
Musical archive of the Arcibishop´s castle in Kremsier (the Czech Republic)
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Origin and evolution of the italian toccata in the baroque
Bernovský, Ondřej ; MRÁZKOVÁ, Giedre (advisor) ; ŽĎÁRSKÁ, Petra (referee)
Abstract
The term toccata denotes mostly a piece written in free form, that is by its nature intended almost exlusively for a keyboard instrument. It can be characterised as a virtuoso improvisatory piece, in which the impression of improvisation is effectively evoked. The understanding of the toccata as a musical genre went through many changes. Every composer has added his personal characteristics to its style, which were later imitated and individually re-created by the next generations of composers. The toccata was developping since late renessaince and baroque and became a substantial compositional tool that used many styles and played different roles.
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DANCE AS A MUSICAL FORM IN THE FRENCH SUITES OF J. S. BACH
Waldaufová, Marie ; MRÁZKOVÁ, Giedre (advisor) ; BERNOVSKÝ, Vojtěch (referee)
The thesis titled Dance as a musical form in the French suites J. S. Bach thematically follows the bachelor thesis entitled Saraband like a dance in baroque harpsichord literature (with a focus on French Suites by J. S. Bach). It deals with the connection between dance and music form.
The first chapter is an overview of the socio-cultural aspects in France during the reign of Louis XIV. Other chapters are devoted to individual Baroque dances, allemande, courante, corrente, gavotte, minuet and gigue. In addition to the history of dance is here described its baroque dancing form, charactical traits and overview of dance steps, which are often preffered in its baroque choreography, then part of the chapter focuses on the transformation of dance forms in stylized instrumental piece.
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Different Aspects of playing Basso Continuo comparing to modern and historical Treatises
Skalická, Štěpánka ; SPURNÝ, Vojtěch (advisor) ; MRÁZKOVÁ, Giedre (referee)
General-Bass is a certain characteristic system of writing and playing an accompaniment in the 17th and 18 century for keyboard and harmonic instruments used in chamber or orchestra music.
General-Bass evolved during those two centuries. First theoretical references of general-bass technique are dated around 1600. It was a renaissance motet technique die away and improvisation and polyphony baroque technique born time. Lodovico Viadanas treatise Cento concerti ecclesiastici from 1602 is a first written documented instruction of this technique.
Centre of general-basses development expanded from Italy to Germany and France. There was a separate specific evolve and theoretical treatises of general-bass in each country. Despite of the separation there was a influence and inspiration between of the particular country stiles of general-basses praxes.
The main representative are Francesco Gasparini, Georg Muffat and Francesco Geminiani in Italy Jean-Henri d´Anglebert, François Dandrieu, Michel de St. Lambert in France and Johann Mattheson, Johann David Heinichen and Johann Sebastian Bach in Germany.
Currently we are experiencing return of studies of historical general-basses treatises and arises modern textbooks of general-bass. There are two Czech translations of Jespera Bøje Christensens and Barbara Marie Willis textbooks available. Both authors based their textbooks on historical pedagogical systems and rules. Michel Laizé wrote textbook of General-Bass based on his own methodical scheme in 2001 in France.
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The Importance of Czech Composers of the Second Half of the 18th Century
Žáková, Lucie ; MRÁZKOVÁ, Giedre (advisor) ; SPURNÝ, Vojtěch (referee)
The topic of my Master's graduation thesis is the music of the 18th century and the importance of Czech composers in the context of the whole Europe.At the beginning of the work we are led into the historic consequences where there is a brief introduction of the political and social situation and where the status of a musician in the world of those times and his role are discussed. Then Czech musicality and its importance for European Classicism are referred to.In the following chapters the musical environment in the Czech lands are dealt with, together with the importance of Czech schoolmasters' families and castle orchestras in our countries. The consecutive chapter deals with the Czech emigration, music centres and institutions in Europe and other crucial events of the 18th century. The 8th chapter focuses on the types of compositions in the period of Classicism and their use in practice. The final chapter gives a detailed overview of the compositions for four hands for keyboard instruments in the 18th century, specifically the composers, music examples for compositions for four hands and at the very end the author's own experience of four-hands keyboard playing is shared.
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Contemporary education of harpsichord playing
Žďárská, Petra ; MRÁZKOVÁ, Giedre (advisor) ; SPURNÝ, Vojtěch (referee)
My master´s thesis which is called Contemporary education of harpsichord playing speaks about current state of education of harpsichord at school system and harpsichord education materials.
The first chapter is an overview of the situation at music schools in Czech Republic and other countries.
The second chapter deals relationship between modern education materials and historical treatises.
Next chapters are describing modern methods for harpsichord: 1. Methods for small children, 2. Methods for pupils who played before the other instruments,
3. Methods for advanced students. I added also chapter about modern piano methods, which are usually preferred in Czech Republic and it is possible to use them for harpsichord education.
The final chapter is focused on the other materials for harpsichord education like scales, exercises, basso continuo and contemporary music.
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