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MEZINÁRODNÍ WEBOVÝ SBORNÍ KK HUDEBN ÍÍ VÝCHOVY Region 2007 č. 2 MEZINÁRODNÍ WEBOVÝ SBORNÍK HUDEBNÍ VÝCHOVY katedra hudební výchovy Pedagogická fakulta Ostravská univerzita v Ostravě Region, regionální hudební kultura a regionální umělec v kontextu vývojových proměn společnosti ISSN 1802-6540 BUDOVA PRACOVIŠTĚ KATEDRY HUDEBNÍ VÝCHOVY, PEDAGOGICKÉ FAKULTY OSTRAVSKÉ UNIVERZITY V OSTRAVĚ 2 Recenzovali: Prof. PaedDr. Michal Nedělka, Dr. Prof. PhDr. Jan Mazurek, CSc. Redakční práce: Mgr. Veronika Radimcová Mgr. Daniela Svitáková Mgr. Jan Nowak PhDr. Inez Kozelská, Ph.D. PhDr. Jiří Kusák, Ph.D. Mgr. Jaromír Zubíček, ArtD. © Vydala katedra hudební výchovy PdF OU v Ostravě 2008 3 Vážení čtenáři, právě jste otevřeli druhé číslo sborníku Mezinárodní webová konference hudební výchovy, vydané katedrou hudební výchovy Pedagogické fakulty Ostravské univerzity v Ostravě, z konference konané ve dnech 1. 12. 2007 – 31. 12. 2007 na webových stránkách http://www.osu.cz Nosnost tématu Region, regionální hudební kultura a regionální umělec v kontextu vývojových proměn společnosti potvrdila hojná účast referujících a vysoká kvalita příspěvků. Sborník je recenzován a splňuje všechny požadavky kladené na sborníky vydávané tiskem. Záměr vytvořit prostor pro odbornou komunikaci vědeckopedagogických pracovníků kateder hudební výchovy a kultury v rámci Evropy se zdá být naplňován. Děkuji všem autorům, kteří se konference zúčastnili a posunuli hranice poznání. V Ostravě 7.1.2008 PhDr. Inez Kozelská, Ph.D. (ed.) katedra hudební výchovy Pedagogická fakulta Ostravská univerzita v Ostravě 4 Obsah Role umělce v rámci regionální hudební kultury (René Adámek) ............................................ 7 Dialog s Bohem v tvorbě Stanislava Macha. Pohled na osobnost skladatele a pedagoga v kontextu duchovní hudby (Petra Bělohlávková). .................................................................. 11 Několik slov ke koncepci nového studijního oboru Skladba na plzeňské konzervatoři. Průběh prvního ročníku (Jiří Bezděk) .................................................................................................. 16 Kašmírský nástroj santúr a jeho přesahy do severoindické klasické hudby (Karel Cvrk) ...... 23 Oldřich Blecha a jeho místo v kulturním životě v Plzni v první polovině 20. století (Romana Feiferlíková) ............................................................................................................................ 34 Ďalšie vzdelávanie učiteľov hudby v oblasti muzikoterapie a etnopedagogiky (Jaroslava Gajdošíková Zeleiová) ............................................................................................................ 47 Hlas jako nástroj práce učitele (Mirosław Kisiel) ................................................................... 62 Verwandlungen des musikalischen Lebens in Leipzig gestern und heute (Markéta Koptová) 77 Región ako súčasť hudobno-pohybových hier v primárnom vzdelávaní (Barbora Kováčová) 96 Nové možnosti hlasové přípravy učitelů (Inez Kozelská) ..................................................... 103 Hudebně dramatická tvorba pro děti v regionálním kontextu a její hudebně výchovný význam (Petr Krňávek) ....................................................................................................................... 110 Etnopedagogické inšpirácie pre hudobnú výchovu a vzdelávanie (Martina Krušinská) ....... 116 Description of the Correlative relationship of an Artist and a Region as an Archetypal Area of Inspiring Impulses (Jiří Kusák) ............................................................................................. 123 K hudebnímu životu na Uherskobrodsku od 50. let 19. století do roku 1945 (Jiří Kusák) .... 128 Hudební vzdělávání jako cesta k toleranci (Larisa Majkovskaja) ......................................... 136 Hudba v Ostravě 1945 – 1948 (Jan Mazurek, Jiří Kusák) .................................................... 140 Nástrojová tvořivost hudebních pedagogů středočeského regionu jako pedagogický a výzkumný problém (Michal Nedělka) .................................................................................. 155 Karel Moor (Miluše Obešlová) ............................................................................................. 161 Míľniky zborovej tvorby Zdenka Mikulu (Milan Pazúrik) ................................................. 168 Moravské lidové písně Otmara Máchy (Stanislav Pecháček) ............................................... 177 František Bakule a jeho pedagogická a sbormistrovská činnost (Ludmila Peřinová) ............ 188 Ladislav Vycpálek a moravská lidová píseň (v kontextu kompoziční školy Vítězslava Nováka) (Ludmila Peřinová) ................................................................................................. 198 Severočeský region ve světle hudebních aktivit minulosti a současnosti (Lenka Přibylová) 212 5 Aktuálne otázky skúmania hudobných regiónov v muzikológii na príklade hudobnej kultúry Vrútok (Juraj Ruttkay) .......................................................................................................... 219 Opportunities for presenting Czech choir singing outside Europe (Jan Spisar) ................... 231 K historii, metodologii a heuristice výzkumu hudební kultury v regionu (se zaměřením na studium novějších dějin hudby v Ostravě) (Karel Steinmetz) .............................................. 234 Hudobná edukácia v štúdiu učiteľstva pre 1. stupeň základných škôl (Názory slovenských a maďarských študentov) (Mária Strenáčiková, Peter Strenáčik) ............................................ 242 Analiza badań folkloru wokalnego zaolziańskiej części Śląska Cieszyńskiego – wnioski (Magdalena Szyndler) ........................................................................................................... 255 Podpora regionální divadelní kultury (Nikola Šedinová Slabáková) .................................... 265 Computer in musical activity of pre- school (Anna Watoła) ................................................ 273 Hudební místopis Severomoravského kraje Vladimíra Gregora – zdroj cenných pramenných hudebně-topografických poznatků (Šárka Zedníčková) ....................................................... 279 Soudobá hudba ostravských klavírních skladatelů (Jaromír Zubíček) .................................. 282 100 let existence ZUŠ Ostrava – Moravská Ostrava (Pavla Zubíčková) .............................. 286 6 Role umělce v rámci regionální hudební kultury Doc. MgA. René Adámek katedra hudební výchovy, Pedagogická fakulta Ostravské univerzity v Ostravě RESUMÉ Příspěvek se zamýšlí nad úlohou umělce v rámci regionální hudební kultury. Vysvětluje pojmy regionální umělec a amatér a jejich postavení v současné kulturně osvětové činnosti mimo velká centra. Poukazuje na ojedinělou práci Kruhů přátel hudby a všímá si nutné provázanosti v pedagogické, organizační a interpretační oblasti. KLÍČOVÁ SLOVA: umělec, amatér, region, kultura, výchova Česká republika patří bezesporu mezi kulturně nejvyspělejší státy Evropy. Vykazuje vzorově propracovanou síť hudebního školství od základních uměleckých škol (ZUŠ)1) počínaje, přes konzervatoře až po vysoké školy uměleckého (AMU, JAMU) či pedagogického (PdF) směru konče. Při letmém pohledu do katalogu Muzikontakt registrujeme nejen již zmíněné vzdělávací instituce, ale také množství agentur, Kruhů přátel hudby (KPH), festivalů, soutěží apod. Také uvedená zastoupení renomovaných umělců, komorních těles, vokálních souborů, orchestrů a publicistů vzbuzují oprávněnou úctu a hrdost. Skutečnost, že se česká hudba pyšní ve všech svých odvětvích zaslouženě vysokým renomé, je široké veřejnosti dostatečně známa. Chceme-li fundovaně odpovědět na otázku, jež vyvstává z názvu našeho zamyšlení, je nutné stručně se pozastavit a zamyslet nad termíny umělec, amatér, region a hudební kultura. Umělec, tvůrce, hudebník může být buď interpretem, dirigentem či skladatelem nebo – jedná-li se o geniálně nadaného jedince – spojuje v jedné osobě více profesí současně.2) Dále je zapotřebí rozlišovat, zda se jedná o profesionála s mezinárodním přesahem3), nebo „pouze“ s regionální působností. Oba typy mohou být, jak uvidíme později, ve své činnosti nezastupitelné. Na tomto místě musíme tedy poopravit někdy nesprávné laické mínění o tzv. „regionálních umělcích“. Uvedené označení si zaslouží konečně odstranit pejorativní nádech. Měli bychom spíše hovořit o profesionálech působících v dané oblasti. Známe mnoho 7 absolventů středních a vysokých hudebních škol, kteří odvádí, často bez nároku na honorář, kvalitní a vysoce hodnotnou pedagogickou a uměleckou činnost. Tím přispívají k obohacení kultury v místě bydliště popř. širokém okolí.4) Rovněž termín amatér si žádá o navrácení původního významu, kdy se jednalo o osobnosti na vysoké intelektuální a hudební úrovni, pro které nebylo umění primárním zdrojem obživy. Postupem času získalo zde diskutované slovo neprávem hanlivý nádech. Je načase tento neblahý aspekt odstranit. Bez mnoha nadšenců5), působících v oblasti duchovní hudby, jazzu, ale také folklóru, folku, rocku a jiných žánrů tzv. nonartificiální hudby, si již nedovedeme náš život představit. Vynikající koncerty, festivaly, přehlídky a následné ohlasy publika dávají za pravdu těm neúnavným organizátorům, kteří se rozhodli věnovat svůj čas kultivaci kulturního povědomí veřejnosti. Region dělíme dle Velkého slovníku naučného6) na fyzicko-geografický a sociálně- geografický s celou řadou podtypů. Nás ovšem zajímá daná oblast se svými typickými znaky. Může se jednat o mikro-, mezo- a makro- regiony. Musíme si uvědomit, že také tady žije a pracuje obyvatelstvo,
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