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JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ Hudební JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ Hudební fakulta Katedra strunných nástrojů Studijní obor Hra na violoncello Název práce Historie výuky hry na violoncello v Japonsku Diplomová práce Autor práce: BcA. Nagisa Okamoto Vedoucí práce: Prof. Jozef Podhoranský Brno 2021 1 Bibliografický záznam OKAMOTO, Nagisa. Historie výuky hry na violoncello v Japonsku History of education playing violoncello in Japan. Brno, 2021, počet s.40 Diplomová práce. Janáčkova akademie múzických umění v Brně. Hudební fakulta, Katedra smyčcových nástrojů. Vedoucí práce: prof. Jozef Podhoranský Anotace Diplomová práce „Historie výuky hry na violoncello v Japonsku“ se zaměřuje na osobnost Hidea Saita, který měl velké zásluhy na vývoji výuky hry na violoncello v Japonsku. Na základě výpovědí violoncellistů, kteří pod Saitem studovali a jsou dosud stále aktivní v Japonsku i v zahraničí, práce tehdejší stav vzdělávání, změny a ustavení metod výuky. Abstract Thesis “History of education playing violoncello in Japan” deals with history of education playing in Japan, in particular, focus on Hideo Saito, who has of made great achievements in the development cello education in Japan. Based on the testimony of cellists who are still active in Japan and abroad even after receiving his cello education, we will summarize the state of education at that time, changes in methods, and establishment. Klíčová slova Violoncello, viloncellista, Saito Hideo, Japonsko, Výuka hudby v Japonsku Keywords Violoncello, cellist, Saito Hideo, Japan, education of music in Japan 2 Prohlášení Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. V Brně dne… 16.5……. ____________________ Nagisa Okamoto 3 Poděkování Na tomto místě bych ráda poděkovala svému vedoucímu práce prof. Jozefu Podhoranskému a svému vedoucímu semináře PhDr. Petru Lykovi, Ph.D. et Ph.D. za cenné rady a trpělivou pomoc, bez kterých bych tuto práci nemohla napsat. 4 5 Obsah Úvod ............................................................................................................................. 8 Stav bádání ................................................................................................................... 9 1. Vývoj metody Hidea Saito................................................................................... 10 1.1. Život ................................................................................................................... 11 1.2. Rané předválečné experimentování a výzkum - v letech před druhou světovou válkou 1927–1945 .............................................................................................. 13 1.2.1. Saitovy pedagogické začátky ......................................................................... 13 1.2.2. Zásadní změny v důsledku studia u Feuermanna ............................................ 14 1.3. Vnik metody Saito v pválečné době .................................................................... 19 1.3.1 První děti, které se učí u Saita ........................................................................... 19 1.4 Finalní podoba metody Saito v 50.letech 20. století ............................................ 21 1.4.1 Způsob uchopení smyčec a poloha levého lokte ............................................... 21 1.4.2 Techniky prstokladu ........................................................................................ 21 1.5.Vývoj metody Saito od konce 50. let po 60.léta 20.století………………………22 1.6. Hideo Saita a jeho smýšlení o hudebním vzdělávání ......................................... 27 2. Tokijská hudební škola - Tokijská univerzita umění První japonská hudební škola 31 2.2. Významní profesoři violoncella pozvaní do Japonska ........................................ 33 Shrnutí ................................................................... Chyba! Záložka není definována. 3.Současné japonské hudební vzdělávací instituce .................................................... 35 3.1.Hudební univerzita Toho Gakuen a přidružená Hudební škola pro děti…………35 3.2. Projekt raného vzdělávání Tokijské univerzity múzických umění...................... 38 Závěr .......................................................................................................................... 39 Použité informační zdroje .......................................................................................... 40 Přílohy ........................................................................................................................ 41 6 Úvod V posledních letech se mezinárodní aktivity mladých asijských violoncellistů, včetně japonských, těší obrovskému rozmachu. Jedná se o zajímavé téma, kdy a jak západní hudba a její hudební nástroje vstoupily do Japonska a jakým způsobem se zde dále rozvíjely až do současné podoby. Tato práce se zabývá historií studia violoncella v Japonsku. Zaměřuje se zejména na osobnost Hideo Saita, na jeho úspěchy, velký vliv na hudební vzdělávání v Japonsku a na jeho metody hraní. Práce se ohlédne i za historií vývoje studia violoncella v Japonsku. Hideo Saito byl japonský violoncellista a dirigent. Jeho kariéra trvala od roku 1920 do roku 1974. Byl zdatným učitelem ve všech oblastech hudby, včetně hry na violoncello a dirigování, a pod jeho vedením vyrostlo mnoho hudebníků působících v zahraničí. První kapitola se bude věnovat Saitovu životu a vývoji jeho metody výuky a objasní také jeho pohled a způsoby přemýšlení o hudbě. Vycházíme při tom zejména z knihy „Výuka hry na violoncello Hidea Saita (Hideo Saito’s Cello Education)“ od Yoritoyo Inoueho. Ta na základě výpovědí Saitových studentů podrobně shrnuje a popisuje obsah jeho tehdejší výuky nebo-li Saitovy metody. Druhá kapitola se zaměřuje na výuku hry na violoncello v Japonsku z hlediska historického vývoje, metodických postupů a techniky. Práce zkoumá, jak se vyvíjelo vzdělávání japonských violoncellistů. Pojednává o první hudební škole v Japonsku – Tokijské hudební univerzity – a o jejím založení. Zabývá se metodami výuky hry na violoncello, které byly používány před zavedením metody Hidea Saito. Třetí kapitola s názvem „Současné japonské hudební vzdělávací instituce“ popisuje vzdělávací systém a metody školy pro děti, kterou založil Hideo Saito spolu s dalšími hudebníky, a založení projektu raného vzdělávání na Tokijské univerzitě múzických umění. Obě tyto dvě vzdělávací instituce poskytují špičkové akademické hudební vzdělání v Japonsku a usilují o rozvoj profesionálních hudebníků. Tato práce zkoumá, jak se úroveň japonských hráčů na violoncello postupně zvyšovala na světovou úroveň, historii tohoto vývoje a metody, které byly použity. Chce tak přispět k dalšímu rozvoji vzdělávání v oblasti violoncella. 8 Stav bádání V této práci je citována kniha „Výuka hry na violoncello Hidea Saita (Kataritugu Saito Hideo no cyero kyouiku)” od Yoritoyo Inoueho. 1 Autor v ní rozebírá metodu výuky hry na violoncello Hidea Saita, její vývoj a jeho hudební myšlení. Dále v této práci bude představena historie výuky hry na violncello podle jeho metody a současná výuka hry na violoncello v Japonsku. V současné době neexistuje žádná podrobná studie na téma „Historie výuky hry na violoncello v Japonsku“. Vzniklo několik dalších prací, které jsou napsány o Hideo Saitovi. Ty však pojednávají o jeho pozdější kariéře dirigenta a metodách výuky dirigování. Tato práce by se chtěla více zaměřit na jeho vliv v oblasti výuky hry na violoncello. 1 INOUE,Yoritoyo. „Kataritugu Saito Hideo no cyero kyouiku.Ongaku no tomo sha.Japonsko:1987. ISBN4-276-20166-7. 9 1. Vývoj metody Hidea Saito Hideo Saito, který působil jako dirigent a pedaog, významně přispěl k rozvoji výuky hudby v Japonsku. Jeho metoda výuky, tzv. Saitova metoda nebo Saitův systém, vznikla ze zkušeností, které Saito získal v průběhu studií u Julia Klengela a Emanuela Feuermanna před druhou světovou válkou. Saito aplikoval a kombinoval poznatky získané ze zkušeností v Evropě, při čemž v té době byl jeho přístup experimentální, vědecký, systematický a originální. Hideo Saito pak uplatnil metody z violoncellového vzdělávání při výuce dalších instrumentálních hudebníků, například houslistů, hráčů komorní hudby v orchestru a také dirigentů. V roce 1948 založil společně s Motonarim Iguchi, Takeem Ito, Hidekazu Yoshidou a dalšími „Hudební školu pro děti“ (viz. Kapitola 3). To později vedlo k otevření kateder vyučujících hudbu na soukromé hudební univerzitě Toho Gakuen. 10 1.1. Život Hideo Saito se narodil 23. května 1902 ve městě Akashi-cho, Tsukiji v Tokiu, jako druhý syn slavného anglisty Shuzabura Saita. O hudbu se začal zajímat, když mu bylo 12 let a nejlépe, hrál na nižší střední škole na mandolínu. V roce 1918 se začal učit hru na violoncello u Motonaga Ono z oddělení tradiční dvorní hudby gagaku agentury císařského dvora. V letech 1920-1922 studoval na univerzitě Jochi v Tokiu, studium však předčasně ukončil, aby se mohl plně věnovat hudbě. V roce 1924 odcestoval do Německa studovat hru na violoncello u Juliuse Klengela na Lipské vysoké škole hudební a divadelní. Po návratu ze studií v Lipsku v roce 1927 se stal prvním violoncellistou Nového symfonického orchestru (v současností NHK Symphony Orchestra). V roce 1929 uvedl svůj první violoncellový recitál. V roce 1930 se opět vrátil do Německa. Studoval na Berlínské univerzitě umění u Emanuela Feuermanna. Po návratu do Japonska v roce 1930 se vrátil na pozici prvního violoncellisty Nového symfonického orchestru. Po neúspěchu na koncertě vyvolaném pocitem přílišné zodpovědnosti a násldní trémou, ukončil dráhu sólisty. Dalších
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