This thesis is focused on analysis of cello works by Czech contemporary composer Ondřej Kukal. Thesis also contains his curriculum vitae and list of his compositions.

This master thesis is focused on analyzing the development of cello concerts written by Russian composer, respected cellist and teacher Karl Julievich Davydov. In the first place, the analysis is about the upward development of the genre – from virtuosic type of concerts to virtuosic-symphonic type of cello concerts. This thesis is divided into three main chapters. The first chapter in the three subsections is focused on typing and characterization of string concerts. The second chapter in the six subsections devoted to the context of Western European traditions and peculiarities of the development of cello art in Russia. The third chapter in two separate sections and four smaller subsections focus on the personality of Karl Julievich Davydov, periodization of his work and analysis of his cello concerts.

This thesis deals with violoncello field of study since the establishment of the Academy to these days. The text is arranged into three chapters. The first part describes history and particular teachers and their students. The second chapter includes complete list of diploma theses written by students of violoncello department. The Third chapters includes the list of teachers and students in academic year 2016/2017.

Subject of this master thesis is the Concert for violoncello by Arthur Honegger. This thesis aims to explore the circumstances in which the concerto was written, examine its basic structure, highlight the fact that despite its undeniable qualities it is not appreciated adequately and contribute to spread the knowledge about this wonderful piece of music as well as about the composer himself. The thesis is divided into two main parts. First one deals with composer’s life, focusing on period starting with his childhood to the composition of cello concerto. Second part is discussing the concerto, its formal, rhythmical and thematic structure, jazz influences and unusual performance techniques, cadences and available recordings.

This thesis details the recognized and recpected personalities of Marek Jerie, which draws from the perspective of teaching and interpretative operation,but also closer to him as a person and a prominent figure of cultural events.Aside leaves or inconvenience caused by the previous regime and his departure into exile.Trough the work is also very close encounter with leading personalities of the world´s Cello ( Bohus Heran, Pablo Cassals, Andrér Navara, Mstislav Rostropovich ad.).With their views on the interpretation and art in general is their nature. Also appears in many of the links and interconnections struktures of world of the art. A very important point of this paper is a summary view of Jerieho interpretation and recording activities resting on the study of contemporary international critics. In addition to solo action Jerie was a member of several chamber ensembles ( Guarneri Trio Prague, Duo Bohuslava Martinů, and others.). In detail, the work in this regard focuses on Jerie´s artistic effect with the Guarneri Trio Prague, of which member is over twenty five years. One of the last chapters look at his teaching "laboratory ". His pupils are successfully applied worldwide, and its methods are widely recognized world wide cello public.

Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T04:39:34Z (GMT). No. of bitstreams: 1 Nunes_JorgeArmando_D.pdf: 40510055 bytes, checksum: 15340895ad61419f735225c78e66fc9a (MD5) Previous issue date: 2014 / Resumo: Em 1865, quando estava com 24 anos de idade, Dvorák escreveu um Concerto para Violoncelo com acompanhamento de piano que, apesar de ter recebido duas versões orquestrais posteriores à sua morte, permanece até hoje em situação de obscuridade. Escrito em uma época na qual o compositor dava seus passos iniciais na trilha que o conduziria à notoriedade internacional, se mantém até hoje à sombra do Concerto op. 104 em si menor, considerada pelos violoncelistas como a obra magna do gênero, dentro de um restrito repertório solístico existente para este instrumento. Este trabalho, através de múltiplas abordagens enfocando aspectos editoriais, históricos, analíticos e interpretativos, tem o objetivo de trazer ao conhecimento dos intérpretes e do público uma obra que, na versão de Günther Raphael, recebeu a formatação necessária para que passasse a apresentar uma organização formal digna do período de maturidade deste compositor / Abstract: In 1865, when was 24 years old, Dvorák composed a Cello Concerto with piano accompaniment that, in spite of two orchestral versions after the composer¿s death, still remains in a situation of obscurity. Written at a time wherein the composer was taking their first steps in the trail that would lead him to international notoriety, until today remains in the shadow of the Concerto in B minor, op.104, considered by the cellists such as the magnum opus of the genre for this instrument. This work, through multiples approaches focusing editorials, historical, analytical and interpretative aspects, has the purpose of bring to the attention of the interpreters and public a work that, in Raphael¿s version, received the necessary formatting to presents a formal organization worthy of the maturity period of the composer / Doutorado / Praticas Interpretativas / Doutor em Música

This paper provides a system that helps diagnose and address the specific challenge to cellists of intonation in any passage. Learning to play consistently in tune is essential for every cellist. In the over three hundred years of cello history, teachers have tried approaching the topic from a variety of perspectives. While each technique is useful in its own right, there is scant attention to how they work together. Viewing intonation through its component sub-skills is the first step toward integrating existing exercises and paving the way for further advances in pedagogy. The following paper categorizes training techniques according to the sub-skills of playing consistently in tune. This approach makes the learning and teaching of intonation manageable and approachable to cellists at all levels. What we do before the note, How we play the note, What we do after the note, and Putting it all together are the four broad categories of sub-skills identified. Within each of these sections, relevant exercises are presented and their efficacy explained. Examples are drawn from a wide range of sources including music education, my own educational experiences, music psychology, the Alexander Technique, cello pedagogy, professional cello teachers’ responses to a questionnaire, physiology, and neuroscience. By integrating published research in these areas, this paper provides a more comprehensive understanding of intonation. Instead of a wealth of techniques each claiming to resolve the challenge of playing in tune, the introduction of sub-skills allows for a methodological approach to intonation pedagogy.

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This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.