Česká Lípa is a district seat located in the Liberec region. It had served as an important traffic junction since the Middle Ages because of its situation near the German and Polish borders. Thus, cultural customs and traditions of neighbouring countries and especially of the German majority had played a significant role in cultural events in the town and its surroundings. After both the World War I and the World War II, old residents and also new incomers endeavoured to re-establish or build a new background for the town's social life. Despite the fact that the majority of the post-war period was affected by the communist regime, the citizens set up clubs, organized competitions or festivals and by doing so, in many cases, they unknowingly built traditions that have been preserved till present days and are living inspiration for new generations of Česká Lípa inhabitants. Both the work of our ancestors and their legacy is extremely valuable cultural heritage. Due to the limited range of the diploma thesis and the author's specialization, this thesis focuses particularly on musical institutes and choirs in the region Česká Lípa. Unfortunately, the extant materials do not cover all musical activities, ensembles, personalities and events related to them since the World War II. It is worth mentioning...

Made available in DSpace on 2015-05-07T15:08:59Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 15278489 bytes, checksum: eeae84df2716372602f9b4bbd95292df (MD5) Previous issue date: 2013-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is based on a survey that heard some characters who contributed so valuable to the consolidation of a musical tradition and the teaching of music, specifically the piano, in Paraiba. The professional history of these characters is intertwined with the History of Music of Paraiba, nevertheless, is not in the writings and little documented runs the serious risk of being forgotten. In this sense, we think it appropriate and necessary to carry out this study on teaching piano in Paraiba, using beyond the bibliographic sources, iconographic and documentary, the memories of four piano teachers who helped us discuss the places where took place the early education and understand the pedagogical practices and performances achieved in some of the most important institutions of musical education in Paraíba. To this end, we bring in the theoretical referential advocated by Hobsbawm (1998), Saviani (2007) and Magalhães (1998 and 2004). This study has, therefore, the objective to understand the trajectory of teaching piano in Paraiba. To do this, if made necessary, seek clues of a musical education performed even in the 19th century, and understand how the pianistc school was consolidated in multiple instances by now. Soon, therefore, in private institutions when it was still informalized, until its consolidation in three specialized musical education schools institutionalized and formalized, that arose in Joao Pessoa: Anthenor Navarro School of Music, the Music Conservatory of Paraíba and the Orpheonic Singing Conservatory. The thesis that has led us, therefore, was that the piano education, even when formalized in its highest and significant educational institution, which is: the Piano course at the Federal University of Paraíba until the scoped in this study, remains on a historical continuum reflecting processed practices in the institutions that housed the traditional model of musical education realized from Musical Conservatory Institutions. So, despite graduating from pianists-Bachelors in piano, for the first time in Paraiba, the course remains reflecting in the curricula, the technical studies approaches and pianistic repertoire composers that were adopted by the schools mentioned above. Both in current and in the Course of Piano of UFPB found strong presence in your academic schedule of important elements that were brought from experience in conservatories in the country and abroad. So, the first Music University of Paraiba went on to make pedagogical practices and performances, which were already consolidated in the above quoted model musical make confirming the thesis that we initially developed. / Esta tese tem como base uma pesquisa que ouviu alguns personagens que contribuíram de forma valiosa para a consolidação de uma tradição musical e do ensino da música, especificamente do piano, na Paraíba. A história profissional desses personagens se confunde com a História da Música Paraibana, apesar disso, não está nos escritos e sendo pouco documentada corre o sério risco de ser esquecida. Neste sentido, julgamos pertinente e necessário realizar este estudo sobre o ensino de piano na Paraíba, utilizando para além das fontes bibliográficas, documentais e iconográficas, as memórias de quatro professoras de piano que nos ajudou a discutir sobre os lugares onde ocorreram o ensino pianístico e entender as práticas pedagógicas e de performances concretizadas em algumas das mais importantes instituições de ensino musical paraibano. Para tanto, nos aportamos nos referenciais teóricos propugnados por Hobsbawm (1998), Saviani (2007) e Magalhães (1998 e 2004). Este estudo tem, portanto, como objetivo entender a trajetória do ensino de piano na Paraíba. Para isso, se fez necessário, buscar indícios de uma educação musical realizada ainda no século XIX e, entender como o ensino pianístico se consolidou nas várias instâncias por que passou. Logo, portanto, nas instituições particulares quando ainda era informalizado, até a sua consolidação nas três escolas especializadas de ensino musical institucionalizadas e formalizadas, que surgiram em João Pessoa: a Escola de Música Anthenor Navarro, o Conservatório Paraibano de Música e o Conservatório de Canto Orfeônico da Paraíba. A tese que nos conduziu, portanto, foi a de que o ensino de piano, mesmo quando formalizado na sua mais alta e significativa instituição educativa, qual seja: o Curso de Piano da Universidade Federal da Paraíba, até o período delimitado neste estudo, permanece num continuum histórico refletindo práticas processadas nas Instituições que abrigavam o modelo tradicionalista de ensino musical concretizado a partir das instituições de conservatório musical. Assim, apesar de diplomar pianistas - Bacharéis em piano, pela primeira vez na Paraíba, o curso permanece refletindo nos currículos, a sequência de abordagens de estudos técnicos e compositores do repertório pianístico que eram adotados pelas Escolas acima mencionadas. Tanto naquelas quanto no atual Curso de Piano da UFPB encontramos forte presença na sua programação acadêmica de importantes elementos que foram trazidos da experiência ocorrida nos conservatórios do país e do exterior. Assim, a primeira Universidade de Música da Paraíba passou a reproduzir as práticas pedagógicas e de performances, que já estavam consolidadas no fazer musical do modelo supra citado confirmando a tese que inicialmente elaboramos.

Depuis le début du Premier Empire, la création artistique française est régentée, à quelques exceptions près, par les théâtres de Paris. À l’instar de bon nombre de scènes provinciales, le Grand Théâtre de Lyon est contraint, à défaut de pouvoir proposer des œuvres locales, de composer ses programmations lyriques en fonction des productions de la capitale et de construire son affiche en prenant pour modèles celles de l’Opéra et de l’Opéra Comique. À l’aide des différents témoignages retrouvés dans les textes de presse de l’époque, cette étude s’interroge sur l’identité des programmations du Grand Théâtre de Lyon entre 1815 et 1848. Qu’il s’agisse de la représentation de ce répertoire ou de sa réception, les performances des artistes et les jugements des spectateurs lyonnais sont influencés par les succès de la capitale : les programmations de la Restauration laissent la part belle à l’opéra comique ainsi qu’aux compositeurs de l’Ancien Régime et de l’Empire ; celles de la Monarchie de Juillet se renouvellent avec le grand opéra et s’enrichissent d’ouvrages donnés en version originale et de traductions d’opéras étrangers. Mais, bien que la composition et la réussite des saisons soient largement tributaires de la référence parisienne, il existe une identité des programmations lyonnaises, qui est à chercher dans l’originalité du cadre spécifique que constituent l’économie du Grand Théâtre et les prescriptions de la presse locale. / Since the beginning of the First French Empire, all the French artistic creation but a few is controlled by the Parisian theatres. As numerous provincial establishments, the Grand Theatre of Lyon, instead of proposing some local creations, is forced to compose its lyrical programs from the productions of the capital city and to take the Parisian Opéra and Opéra Comique as models.Through the different testimonies found in the newspapers of the period, this study questions the identity of the Grand Theatre’s programs from 1815 to 1848. Considering the representation of the repertory or its reception, the artists’ performances and the Lyon spectators’ judgments are influenced by the Parisian successes: the programs during the Restoration are dominated by the opéra comique but also by the Old Regime and Empire’s composers; those during the July Monarchy renew themselves with the grand opéra and are enriched by works played in original version and by translations of foreign operas. But, even though the composition and the success of the seasons are dependent on the Parisian references, there is a Lyon programs’ identity, which is to be searched for in the originality of the specific frame that form the Grand Theatre’s economy and the recommendations of the local newspapers.

This dimploma thesis deals with the contemporary context of the social and cultural relations in Bohemia in the second half of 19th century and at the begining of 20th century. The thesis highlights essential personalities of those times as they were seen through the prism of musical life within the boundaries of leading musical institutions of those times. Furhtermore the thesis refers to relations of these giants with Josef Suk and focuses on Suk's piano compositions in detail within the context of his complete works.