The Multimedia Technologies Applications indd

Use of Multimedia Applications in the Creation and 
Presentation of Educational Concerts for the Primary 
School Pupils of 3
rd
 upto 9
th
 Grades
Marek Olbrzymek
For more than 10 years, it is my pleasure to work on the production and the 
presentation of educational concerts for children 3 to 9 grades of primary schools 
conducted by Miloš Machek. His efforts to produce educational concerts and perform 
them different form than what we were recently used to (or in worse cases still are), 
over time and contribute more striking process of modern multimedia technology 
into everyday life, namely the life of the school age, these new technologies could 
not remain unaffected, and what is more, it began to be inspired.
Since the fi rst attempts at the popularization of concerts devoted to music educati-
on and aesthetic perception of youth in the form of live television broadcasts for chil-
dren and parents, as his time with the New York Philharmonic presented a renowned 
conductor Leonard Bernstein, in time periods of educational concerts as we could 
remember 20 and more years ago as students or graduate students still do: such a con-
cert moderator moderation, who, dressed in a gray suit, seated behind the conference 
table with a glass of water and the necessary amount of securities, consisting of the 
actual scenario of the concert and its comments, is here replaced by a desirable and 
interpreters directly supported by interactive communication with a stage, auditori-
um, children’s reactions to what is happening on stage, and so on.
Because of the need to organize educational concerts for elementary schools is 
still on the rise and the need to design these concerts as well as touring shows, which 
are capable of mobility, thus excluding transportation equipment, orchestra, orches-
tral players and last but not least, the technical apparatus for the audience is incre-
asingly required, it was necessary to select and use all the multimedia technologies 
and their type, in terms of their mobility and the simplest installation, with the least 
possible demands on the equipment area, a space where the concert takes place.
Special programs of Concerts for parents with children with Brno, Ostrava, Zlín 
and Hradec Králové philharmonic orchestras, which are also due to greater involve-
ment, promotion and the importance of the guidance and editing of individual rather 
generously endowed, as well as for their narrative and production aspect are more 
grandly presented and much more popular.
Costumes – back to the very inadequate interpretation of the aria or scene is deli-
berately subordinated to the storyline of the concert itself. So, for example, Vašek’s 
aria from Smetana’s Bartered Bride, or another version of Calaf’s aria “Nessun dor-
ma” from Puccini’s Turandot in costume singing gardener Honza, who was later 

---

46
M
AREK
O
LBRZYMEK
king summons to save the princess from the clutches of a sorcerer, the Duke’s aria in 
Verdi’s Rigoletto costume again (the young King Honza the First, now), as a solemn 
coronation fanfare, etc.
Individual music samples are not used to attempt a sort of documentary form of 
a musical work, but again, they are sometimes used in transcription for other instru-
ments, as appropriate, greater or smaller or merely as re-arranged musical fragments 
(sometimes a few bars only) as an illustration of the atmosphere or mood of the story 
and they are completely subordinated to the storyline.