Conference papers (KHK)
Permanent URI for this collection
Browse
Recent Submissions
Item Prameny k dějinám Hlaholu plzeňského(Akadémia umení v Banskej Bystrici, Fakulta múzických umení, 2025) Polívka, JiříHlavním zdrojem je vlastní fond Hlaholu v Archivu města Plzně, ale autor práce zmiňuje i další důležité materiály z osobních pozůstalostí sbormistrů a dalších spolků. Dále jsou zmíněny artefakty a písemnosti ze Západočeského muzea a dokonce i drobnosti z Archivu Plzeňského Prazdroje. Všechny uvedené fondy jsou inventarizované, což usnadňuje jejich studium. Tato práce tak představuje ucelený přehled pramenů pro ty, kteří se chtějí hlouběji zabývat historií pěveckého sboru Hlahol plzeňský.
Item The tradition of the composing performer in regards to the Czech Double Bass School and double bass performance(Wydawnictwo Uniwersytetu Rzeszowskiego, 2023) Karpíšek, TomášThe article is part of the Conference Proceedings from the conference in Rzesów (Poland) in 2022, where the theme of the conference was: Theoretical and Practical Inspirations for Music Education.The article deals with the tradition of the composing performer in regards to the Czech Double Bass School and double bass performance In the literature of each instrument, compositions written by performers (virtuosi) on that instrument have a very prominent place. These compositions have a crucial function: thanks to the composer’s perfect understanding of his instrument, he could afford to push the very limits of its technical possibilities. But it is not just a question of technical limitation; often, these composer-performers discovered new expressive or timbre possibilities. In addition to concert and virtuoso compositions, these artists also often devoted themselves to pedagogical activities, creating etudes or even entire instrumental schools. This article aims to look at this tradition of the "composing performer" in relation to the Czech Double Bass School and to see if this tradition is still alive and present nowadays.Item The tradition of the composing performer in regards to the Czech Double Bass School and double bass performance(Wydawnictwo Uniwersytetu Rzeszowskiego, 2023) Karpíšek, TomášThe article is part of the Conference Proceedings from the conference in Rzesów (Poland) in 2022, where the theme of the conference was: Theoretical and Practical Inspirations for Music Education.The article deals with the tradition of the composing performer in regards to the Czech Double Bass School and double bass performance In the literature of each instrument, compositions written by performers (virtuosi) on that instrument have a very prominent place. These compositions have a crucial function: thanks to the composer’s perfect understanding of his instrument, he could afford to push the very limits of its technical possibilities. But it is not just a question of technical limitation; often, these composer-performers discovered new expressive or timbre possibilities. In addition to concert and virtuoso compositions, these artists also often devoted themselves to pedagogical activities, creating etudes or even entire instrumental schools. This article aims to look at this tradition of the "composing performer" in relation to the Czech Double Bass School and to see if this tradition is still alive and present nowadays.Item Razvitie tvorcheskogo potenciala uchashhikhsja na osnove japonskojj tradicionnojj i evropejjskojj klassicheskojj sistemy obuchenija(MGIK, 2024) Gvozdevskaia, GalinaV stat'e analiziruetsya prakticheskij opyt avtora po osvoeniyu flejty syakuhachi v tradicionnoj sisteme obucheniya v YAponii, raskryvayutsya polozheniya avtorskoj koncepcii razvitiya tvorcheskoj sostavlyayushchej lichnosti pri obuchenii igre na muzykal'nyh instrumentah, vozmozhnosti obucheniya inostrannomu yazyku s vklyucheniem elementov muzykal'noj deyatel'nosti. Prakticheskaya realizaciya konceptual'nyh idej stat'i vozmozhna v processe obucheniya razlichnym predmetam.
Item Festivalové otisky(OLArt21, 2023) Vičar, JanBilanční zamyšlení při příležitosti 50. ročníku mezinárodního sborového festivalu Svátky písní Olomouc. Charakteristika půlstoletí festivalové akce subjektivním pohledem přímého účastníka, ale i v odstupu odborného recenzenta.Item Festivalové otisky(OLArt21, 2023) Vičar, JanBilanční zamyšlení při příležitosti 50. ročníku mezinárodního sborového festivalu Svátky písní Olomouc. Charakteristika půlstoletí festivalové akce subjektivním pohledem přímého účastníka, ale i v odstupu odborného recenzenta.Item Koncepciya prakticheskogo osvoeniya sistemy elementarnogo muzicirovaniya karla orfa v kurse podgotovki budushchih uchitelej muzyki v vuze(MGIK, 2023) Gvozdevskaia, GalinaV stat'e predstavlena avtorskaya koncepciya prakticheskogo ovladeniya metodami elementarnogo muzicirovaniya Karla Orfa v kurse vuzovskoj podgotovki budushchih uchitelej muzyki obshcheobrazovatel'nyh shkol, vklyuchayushchaya soderzhatel'no-tematicheskij plan, varianty zadanij studentam, primery proizvedenij dlya osvoeniya, rekomendacii po stimulirovaniyu ih tvorcheskoj aktivnosti. Pered studentami stavitsya zadacha ne tol'ko ovladeniya tekhnicheskimi ispolnitel'skimi navykami igry na orfovskih instrumentah, no i razvitiya sposobnosti samovyrazheniya v raznyh nacional'nyh stilyah, ladovyh sistemah (v chastnosti, improvizacii v pentatonike), umeniya organizovat' muzykal'nye zanyatiya po algoritmu SHul'verka Karla Orfa.Item Metody hudební výchovy v nácviku osvojování cizího jazyka (na příkladu japonského jazyka)(Akadémia umení v Banskej Bystrici, 2023) Gvozdevskaia, GalinaČlánek představuje autorovu metodu využití metod hudební výchovy, zaměřenou na začlenění motoriky, pohybové aktivity do procesu osvojování cizího jazyka za účelem zkvalitnění osvojení jazykového materiálu a odhalování potenciálních tvůrčích schopností žáků. Na příkladu využití prvků staroindického konnakolu, eurytmiky E. J. Dalcroze, muzikogramu J. Wuytaka, poklepu na tělo v nácviku učení japonského jazyka jsou ukázány efektivní způsoby formování určitých jazykových dovedností za předpokladu aktivace mimovolní paměti. Zejména na základě materiálu japonského jazyka autor představuje vlastní způsoby gramatického vzdělávání, rozvoje slovení zásoby a hieroglyfy. Jeho cílem je přenesení studovaného materiálu do dlouhodobé paměti, jeho aktivní aplikace při řešení problematiky nácviku řeči a písemné komunikace.Item Body percussion in learning a foreign language (for examples of English, Czech, Japanese)(MGIK, 2025) Gvozdevskaia, GalinaThe article proposes the consistent inclusion of the rhythmic component with elements of body percussion, music-making on the instruments of the С. Orff orchestra in the process of mastering a foreign language (using English, Japanese, and Czech as examples). It provides options for using percussion at the initial and advanced levels (based on the practical experience of modern performers, in which body percussion has become an independent type of musical creativity), and also recommends an algorithm for changing three speeds, presented in the Indian traditional method of musical education konnakol.Item Learning the musicogram method of J. Wuytacka in the course of preparing future music teachers at the university(University of West Bohemia, 2024) Gvozdevskaia, GalinaTurning to the topic of mastering the musicogram method – a visual representation of the structure, the primary elements of musical language for active listening to music, developed by the Belgian composer, pianist, organist, teacher J. Wuytackem, is due to the fact that in the Czech Republic, as in a number of other European countries, this method is up to To date, it has not become the subject of scientific research, and has found almost no practical application in music teaching. The purpose of the presented work was to study the method of musicograms, the pedagogical experience of its practical use in teaching children from its creation in the 70s of the last century to the present, and to develop a concept for teaching this method to future music teachers at the university.Item Learning the musicogram method of J. Wuytacka in the course of preparing future music teachers at the university(University of West Bohemia, 2024) Gvozdevskaia, GalinaTurning to the topic of mastering the musicogram method – a visual representation of the structure, the primary elements of musical language for active listening to music, developed by the Belgian composer, pianist, organist, teacher J. Wuytackem, is due to the fact that in the Czech Republic, as in a number of other European countries, this method is up to To date, it has not become the subject of scientific research, and has found almost no practical application in music teaching. The purpose of the presented work was to study the method of musicograms, the pedagogical experience of its practical use in teaching children from its creation in the 70s of the last century to the present, and to develop a concept for teaching this method to future music teachers at the university.Item Mastering the beauty and wisdom of the japanese language(RUPN, 2024) Gvozdevskaia, GalinaThis article presents the author's methodological approach to the study of the Japanese language, based on understanding and feeling the constants of the philosophy of worldview, ethics, and aesthetics of Japanese traditional culture. Particular attention is paid to practical recommendations, revealing algorithms for comprehending the unique features of communication in the context of a hierarchical model of the worldview, the “life” of hieroglyph lines in calligraphic creativity. The content characteristics of the trainings are given, including the author's ideas on the possibility of using musical education methods (in particular, the musicogram method) in the process of mastering the Japanese language.Item O barvách hudby(Akadémia umení v Banskej Bystrici, Fakulta múzických umení, 2024) Slavíková, MarieČlánek se zabývá problematikou vnímání a hodnocení hudby z hlediska její témbrové charakteristiky. Barva je jednou ze základních vlastností tónu, avšak autorka upozorňuje na skutečnost, že témbr nelze vyjádřit pouze optickými barvami, nýbrž jeho zvukové charakteristiky a jejich pojmenování vycházejí z různých oblastí našeho smyslového vnímání. To se týká i didaktické analýzy při poslechu hudby ve škole.Item Vocal solo compositions by Zdeněk Lukáš(Západočeská univerzita v Plzni, 2024) Feiferlíková, RomanaZdeněk Lukáš was a famous Czech composer whose work encompasses many genres, from symphonic to chamber music. During his long career, he became one of the most important music makers of his time. Zdeněk Lukáš devoted himself to composing works for various instruments and voice. His works are often technically demanding and, at the same time, deeply emotional. Zdeněk Lukáš created music that appeals to listeners for its virtuosity, emotional power, and ability to express many human emotions. Among his best-known compositions are his solo piano sonatas, considered masterpieces of the Czech piano repertoire. His music often reflects his interest in folk music and the Czechmusical tradition, but he also enriched these elements with modern compositional techniques and a distinctive musical aesthetic.One of Lukáš’s key areas of interest was choral music. In this area, the composer was a master craftsman who combined melodic invention with a deep understanding of the human voice and its expressive possibilities. His compositions are characterized by their melodiousness. Rich harmonies characterize his compositions. Tonally, he does not adhere too closely to the traditional major- -minor system; his conception of tonality is rather loose and uses the means of modal keys; when he deviates from it, he tends to distort it by alternating it with simple homophony in the melodic part. In his compositions, we find a multitude of scales, from sober homophonic texture to complex polyphony. From a metro-rhythmic point of view, regularity is often replaced by variation, alternating meter, and rhythm, which makes the individual pieces more distinctive, sometimes co-creating a dramatic and tense character, a lyrical one. In my paper, I focus on choral compositions with solos for different kinds of voices. As mentioned above, the textual component wasvery important to Zdeněk Lukáš, so it also categorized the compositions for chorus and solo voice.Item Vocal solo compositions by Zdeněk Lukáš(Západočeská univerzita v Plzni, 2024) Feiferlíková, RomanaZdeněk Lukáš was a famous Czech composer whose work encompasses many genres, from symphonic to chamber music. During his long career, he became one of the most important music makers of his time. Zdeněk Lukáš devoted himself to composing works for various instruments and voice. His works are often technically demanding and, at the same time, deeply emotional. Zdeněk Lukáš created music that appeals to listeners for its virtuosity, emotional power, and ability to express many human emotions. Among his best-known compositions are his solo piano sonatas, considered masterpieces of the Czech piano repertoire. His music often reflects his interest in folk music and the Czechmusical tradition, but he also enriched these elements with modern compositional techniques and a distinctive musical aesthetic.One of Lukáš’s key areas of interest was choral music. In this area, the composer was a master craftsman who combined melodic invention with a deep understanding of the human voice and its expressive possibilities. His compositions are characterized by their melodiousness. Rich harmonies characterize his compositions. Tonally, he does not adhere too closely to the traditional major- -minor system; his conception of tonality is rather loose and uses the means of modal keys; when he deviates from it, he tends to distort it by alternating it with simple homophony in the melodic part. In his compositions, we find a multitude of scales, from sober homophonic texture to complex polyphony. From a metro-rhythmic point of view, regularity is often replaced by variation, alternating meter, and rhythm, which makes the individual pieces more distinctive, sometimes co-creating a dramatic and tense character, a lyrical one. In my paper, I focus on choral compositions with solos for different kinds of voices. As mentioned above, the textual component wasvery important to Zdeněk Lukáš, so it also categorized the compositions for chorus and solo voice.Item Praktikum muzy`kal`nogo tvorchestva v kurse podgotovki budushhikh uchitelej muzy`ki(MGIK, 2022) Gvozdevskaia, GalinaV stat`e privoditsya soderzhatel`naya kharakteristika tematicheskikh modulej i varianty` prakticheskikh zadanij avtorskoj programmy` praktikuma muzy`kal`nogo tvorchestva, razrabotannoj dlya prepodavaniya dannogo predmeta v Zapadnocheshskom universitete studentam, poluchayushhim speczializacziyu prepodavatelej muzy`ki obshheobrazovatel`ny`kh shkol. Kurs orientirovan na pogruzhenie v tradiczii muziczirovaniya, imevshie mesto v istorii evropejskikh i vostochny`kh stran, znakomstvo s metodikami razvitiya tvorcheskoj aktivnosti, razrabotanny`mi v sistemakh obshhego i professional`nogo muzy`kal`nogo obrazovaniya, razvitie umeniya kombinirovat` i razvivat` osvoenny`e metody` v proczesse vy`polneniya tvorcheskikh prakticheskikh zadanij. Konczeptual`ny`e idei stat`i mogut by`t` ispol`zovany` takzhe v praktike podgotovki muzy`kantov-pedagogov razlichnogo profilya na urovne muzy`kal`ny`kh uchilishh i vuzov.Item A Criança e a música no século 21(Curtiba: Appris editora, 2022) Slavíková, MarieUma criança hoje precisa de música, assim como no passado. No entanto, as formas de comunicação com a música estão mudando, as possibilidades e os meios de educação musical estão mudando. O artigo considera a importância da música para a criança no século 21 e as condições sob as quais a educação musical melhor desenvolverá as habilidades da criança para ajudar a tornar a música uma alegria e prazer para a vida.Item Metody` ispol`zovaniya khudozhestvennogo i muzy`kal`nogo iskusstva v postizhenii inostrannogo yazy`ka(MGIK, 2020) Gvozdevskaia, GalinaV nastoyashhej stat`e privoditsya avtorskaya metodika prepodavaniya novogo materiala pri obuchenii inostrannomu yazy`ku (v chastnosti, yaponskomu), parallel`nogo osvoeniya neskol`kikh yazy`kov s ispol`zovaniem e`lementov khudozhestvennogo i muzy`kal`nogo tvorchestva. Predlagaemy`e metody` mogut by`t` ispol`zovany` pri izuchenii ne tol`- ko inostrannogo yazy`ka, no i drugikh predmetov kak pod rukovodstvom prepodavatelya, tak i samostoyatel`no.
