magistrsko delo
Suzana Paternost Žužek (Author), Cveto Kobal (Mentor)

Abstract

Kljunasta flavta se je v Evropi pojavila v srednjem veku. Skozi srednji vek, renesanso in barok je bila pomemben del glasbenega dogajanja ob slovesnih priložnostih v mestih in na dvoru ter družabnega udejstvovanja posameznika v vsakdanjem življenju. O njej so v renesančnih razpravah pisali glasbeni teoretiki S. Virdung, M. Agricola, M. Praetorius in S. Ganassi. Bogata amaterska dejavnost v baroku je spodbudila nastanek prvih učbenikov za kljunasto flavto. Za potrebe živahne koncertne dejavnosti in odličnih virtuozov na kljunasti flavti so nastajala pomembna dela znanih skladateljev: G. Ph. Telemanna, G. F. Händla, J. S. Bacha, A. Vivaldija in drugih. Ob koncu prve polovice 18. stoletja je priljubljenost kljunasti flavti začela padati. Za skoraj 150 let je utonila v pozabo. V začetku 20. stoletja so glasbeniki A. Dolmetsch, E. Hunt, W. Gurlitt, G. Scheck in H. Riemann z raziskavami na področju stare glasbe kljunasto flavto ponovno obudili. Z virtuozi na kljunasti flavti, kot so bili K. Otten, F. Brüggen in M. Vetter v 60. in 70. letih prejšnjega stoletja, in njihovimi interpretacijami historičnih in sodobnih del, je kljunasta flavta ponovno zasedla mesto, ki ga je nekoč v zgodovini že imela.

Keywords

magistrska dela;kljunasta flavta;ansambel;razprave;učbeniki;virtuozi;

Data

Language: Slovenian
Year of publishing:
Typology: 2.09 - Master's Thesis
Organization: UM PEF - Faculty of Education
Publisher: [S. Paternost Žužek]
UDC: 780.8(043.2)
COBISS: 25047816 Link will open in a new window
Views: 600
Downloads: 75
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Other data

Secondary language: English
Secondary title: Development, role and importance of the recorder
Secondary abstract: The recorder first appeared in Europe in the Middle Ages. Throughout the Middle Ages, the Renaissance and the Baroque it was an important part of musical activities on notable occasions in towns and at the palace, as well as in social activities of an individual in everyday life. Musical theoreticians, such as S. Virdung, M. Agricola, M. Praetorius and S. Ganassi wrote about it in their Renaissance discussions. Rich amateur activities in the Baroque encouraged the appearance of the first textbooks for the recorder. To satisfy the needs of the vivid concert domain and excellent virtuosos on the recorder important works of famous composers were created: G. Ph. Telemann, G. F. Händel, J. S. Bach, A. Vivaldi and others. At the end of the first half of the 18th century the popularity of the recorder started diminishing. For almost 150 years it had been forgotten. At the beginning of the 20th century musicians such as A. Dolmetsch, E. Hunt, W. Gurlitt, G. Scheck, H. Riemann succeeded in reawakening the recorder with their research in the area of old music. With virtuosos on the recorder, such as K. Otten, F. Brüggen and M. Vetter in the sixties and seventies of the previous century and their interpretations of historical and modern works, the recorder once again took the place it had had in the history.
Secondary keywords: master theses;recorder;consort;treaseries;tutors;virtuosos;
Type (COBISS): Master's thesis/paper
Thesis comment: Univ. v Mariboru, Pedagoška fak., Oddelek za glasbeno pedagogiko
Pages: IX, 106 f.
ID: 11316675