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Závěrečné Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Hra na lesní roh Užití lesního rohu v jazzu Bakalářská práce Autor práce: Eva Tesaříková Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Vilém Spílka Brno 2014 Bibliografický záznam TESAŘÍKOVÁ, Eva. Užití lesního rohu v jazzu [Usage of French horn in jazz]. Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Katedra dechových nástrojů, 2014. 22. s. Vedoucí diplomové práce MgA. Jan Dalecký. Anotace Bakalářská práce „Užití lesního rohu v jazzu“ pojednává o možnostech využití tohoto původně pro jazz netradičního nástroje právě v jazzové hudbě. Mapuje vývoj, ve kterém se lesní roh stal z především orchestrálního nástroje součástí prvních big bandů, poté dokonce vedoucím hlasem menších ansámblů, a nakonec i sólovým jazzovým nástrojem. Práce zmiňuje především jednotlivé jazzové hráče na lesní roh, kteří k tomuto vývoji přispěli a jejich konkrétní přínos jazzové hudbě. Annotation Thesis „Usage of French horn in jazz” deals with possibilities of this for jazz unusual instrument in jazz music. It conducts a survey of development of French horn which is mainly orchestral instrument, but became a part of some big bands and the instrument which is able to play jazz as leader of some small bands or even solo jazz instrument. The thesis mentions mainly jazz horn players who contributed to this development and the differences in their approach to jazz. Klíčová slova Lesní roh, jazz, John Graas, Julius Watkins, David Amram, Gunther Shuller, Tom Bacon, Tom Varner, Wliie Ruff, Arkady Shilkloper, John Clark, Mark Taylor, Vincent Chancey Keywords French horn, jazz, John Graas, Julius Watkins, David Amram, Gunther Shuller, Tom Bacon, Tom Varner, Wliie Ruff, Arkady Shilkloper, John Clark, Mark Taylor, Vincent Chancey Prohlášení Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené informační zdroje. V Brně, dne 30. 4. 2014 Eva Tesaříková Poděkování Ráda bych zde poděkovala vedoucímu bakalářské práce MgA. Janu Daleckému za užitečné rady a připomínky. Obsah PŘEDMLUVA ................................................................................................................................ 1 ÚVOD ............................................................................................................................................. 2 1 ZAČÁTKY V UŽÍVÁNÍ LESNÍHO ROHU V JAZZU ........................................................ 3 1.1 JUNIOR COLLINS .................................................................................................................. 3 1.2 SANDY SIEGELSTEIN ............................................................................................................ 3 1.3 JOHN GRAAS ....................................................................................................................... 4 2 UPLATNĚNÍ LESNÍHO ROHU V BEBOPU....................................................................... 5 2.1 JULIUS WATKINS ................................................................................................................. 5 2.2 DAVID AMRAM .................................................................................................................... 6 3 TŘETÍ PROUD ..................................................................................................................... 9 3.1 GUNTHER SCHULLER ........................................................................................................... 9 3.2 TOM BACON ...................................................................................................................... 10 3.3 TOM VARNER .................................................................................................................... 11 3.4 WILLIE RUFF ..................................................................................................................... 12 3.5 RICK TODD ........................................................................................................................ 13 3.6 ADAM UNSWORTH ............................................................................................................. 14 4 HORNISTÉ A MODERNÍ JAZZOVÉ SMĚRY ................................................................. 16 4.1 ARKADY SHIKLOPER .......................................................................................................... 16 4.1.1 Vienna Art Orchestra ............................................................................................... 18 4.2 GIOVANNI HOFFER ............................................................................................................ 18 4.3 ALEX BROFSKY ................................................................................................................. 19 4.4 VINCENT CHANCEY ........................................................................................................... 19 4.5 KEN WILEY ....................................................................................................................... 21 4.6 MARTIN MAYES ................................................................................................................ 21 4.7 MARK TAYLOR .................................................................................................................. 22 4.8 JOHN CLARK ..................................................................................................................... 23 4.9 BARRY TUCKWELL ............................................................................................................ 24 4.10 SHARON FREEMAN ........................................................................................................ 25 4.11 STEPHANIE FAUBER ...................................................................................................... 25 4.11.1 Mel Lewis Jazz Orchestra .................................................................................... 25 ZÁVĚR ......................................................................................................................................... 26 POUŽITÉ INFORMAČNÍ ZDROJE ........................................................................................... 27 Předmluva Pro svou bakalářskou práci jsem si vybrala téma, které je spojením mých dvou vášní: lesního rohu a jazzu. Jako hornistku, která interpretuje především klasickou hudbu, mě téma vždy zajímalo. Chci se dopátrat toho, jak je možné stát se jazzovým hráčem na lesní roh, jaké je třeba mít pro tuto činnost schopnosti, a zda je spojení horny a jazzu něčím, co je na začátku 21. století perspektivní a aktuální, případně v jaké míře. Především však chci zkoumat zařazení lesního rohu do jazzové historie a analyzovat přínos úspěšných hráčů k tomuto vývoji a dnešní situaci. 1 Úvod Při výběru tématu bakalářské práce jsem kladla důraz na to, aby téma bylo nějakým způsobem nové, obohacující a možná také trochu „mimo vyjeté koleje“, kdy spousta hráčů na lesní roh píše rozbory klasických hornových koncertů. Rozhodla jsem se tak pro téma „Užití lesního rohu v jazzu“, které je pro mě příjemnou výzvou ve snaze o zmapování situace tohoto původně orchestrálního nástroje v jazzové hudbě. Mou hlavní snahou tedy bude vytvoření uceleného přehledu zásadních milníků ve vývoji jazzového lesního rohu a hráčů na něj. V první kapitole bych se chtěla zabývat uplatněním lesního rohu v big bandech, prvními hornisty, kteří jazz interpretovali, a také tělesy, která tento neobvyklý nástroj prvně přijala do svých řad. V druhé kapitole uvedu první opravdové průkopníky tohoto nástroje, kteří se dokázali uplatnit v bebopovém období jazzu a místo nenápadného „pozadí“ v big bandu se stali lídry svých vlastních souborů. Další kapitola bude pak pojednávat o třetím proudu, což je spojení klasických prvků s těmi jazzovými. Zde pak budou uvedeni hlavně hráči, kteří mimo interpretaci jazzu také skládali. Čtvrtou a poslední kapitolu této práce bych ráda věnovala moderním stylům a hráčům a bude tudíž velmi rozmanitá. Je třeba totiž zahrnout jak hráče různých moderních směrů, tak i ty, kteří si sami vytvořili svůj osobitý styl. Z pohledu informačních zdrojů je práce velkou výzvou, vzhledem k čerstvosti tématu je totiž možné čerpat pouze z anglicky psaných internetových stránek. Věřím, že i přesto práce poskytne dostatečný a ucelený přehled o dosavadním zařazení lesního rohu do jazzu a významných interpretech. 2 1 Začátky v užívání lesního rohu v jazzu Lesní roh, jako původně čistě orchestrální nástroj, se v jazzové hudbě poprvé objevil díky Claudu Thornhillovi (žil v letech 1908- 1965). Ten do svého big bandu zařadil hned dva lesní rohy a i když hrály pouze dlouhé tóny, přidaly orchestru novou, zajímavou barvu. Dá se však říci, že o tuto inovaci se zasloužil především aranžér Gil Evans, který v té době, přesně 40. letech, s Thornhillem spolupracoval. Byl to také Evans, kdo začal v září 1948 spolupracovat s Milesem Davisem - právě tehdy vzniklo jeho noneto, kde byl lesní roh také zařazen. Není pak náhodou, že když Evans roku 1957 založil svůj vlastní ansámbl, lesní rohy v něm nechyběly. V této kapitole zmíním jména prvních „odvážlivců“ a průkopníků, kteří usedli do dříve zmíněných i jiných souborů existujících v 40. letech 20. století, kdy právě dělali jazzoví hornisté své „první krůčky“. Přicházeli zde mezi profesionální jazzové hráče, přestože převážně byli původně hráči klasických orchestrů a k jazzu se dostali jako samouci. 1.1 Junior Collins Vlastním jménem Addison Collins Jr. Žil mezi lety 1927
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