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Organ works by Miloslav Kabeláč
Káčerková, Michaela ; TŮMA, Jaroslav (advisor) ; ČERNÝ, Pavel (referee)
The main aim of this work is to introduce one of the most important Czech composers of the 20th century, Miloslav Kabeláč, specifically his works for organ. Kabeláč´s organ work includes two Fantasias op. 32, four preludes op. 48 and two sympohonies - 3rd symphony op. 33 and 8th symphony op. 54. For completion of author´s organ works I should not omit to mention the first Czech electroacoustic composition E fontibus Bohemicis - Six tableauxes from Czech annals op. 55. The first chapter is about composers´s life, following ones describe compositions. I also mentioned Kabeláč´s new typ of a notation.
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The Czech stage repertoire for tuba
Adamec, Jan ; MALIMÁNEK, Karel (advisor) ; SUŠICKÝ, Jiří (referee)
In this paper I deal with compositions by Czech authors that contains tuba parts or tuba solos. The following pages contain a lot of interesting pieces of information about the compositions of various genres – from brass and classical music to jazz. Besides the factual information, concerning the origins of particular pieces, or the circumstances of the premieres, the thesis also contains short biographies of the composers. In my opinion the part called “A word from the Author” in particular is very profitable as it cites the composers’ own words about their pieces.
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CZECH COMPOSITIONS FOR CHILDREN CHOIR
Louženský, Petr ; CHVÁLA, Jiří (advisor) ; FIALA, Petr (referee)
The aim of this dissertation thesis is to describe contemporary Czech music written for a children's choir from several aspects. The first part deals with the definition of the phenomenon of children's choir, its specifics, sound characteristics and the like. The second, more extensive, analyzes selected aspects of the compositions of Czech composers in the last seven decades written for children's choir, with regard to their form, style, compositional procedures and techniques, conception of dissonance and consonance, and others. The goal of this work was not only analytically show the current state of Czech compositions for children's choir, but also to outline and perhaps encourage its further development.
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NEW INTERPRETATION MEANS IN CZECH CONTEMPORARY MUSIC FOR THE GUITAR
Mazan, Josef ; RAK, Štěpán (advisor) ; KLAUS, Miloslav (referee)
This dissertation explores the field of new interpretation means in the compositions for the guitar solo by Czech contemporary authors. Nineteen works have been chosen, in the period from 1943 to 2015. The material obtained through analysis is by the means of comparison explored into a greater depth.
The result of the research can be summarised in the statement that to write well for the guitar means to understand the right hand. In the chapter about instrumentation I further explain these features. The aim of this thesis is to inspire new works for the guitar.
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Piano Concerto by Antonín Dvořák
Grešlová, Alena ; KASÍK, Martin (advisor) ; KLÁNSKÝ, Ivan (referee)
The main goal of this thesis the introductiom to the czech romantic piano literature. The first part contains a brief introduction to the origins and analysis from the musical perspective. In chapter two I concentrate on the technical and phonic parameters of the work. Apart from Dvorak's solo piano excerpts, one can take notice of excerpts from the revided version done by Vilem Kurz - and confrontation of both. There are 4 groups in which the main differences between the two versions are divided. The last chapter contains a summary of performance experience by interviews with famous pianists - Ivan Klansky, Martin Kasik and Ivo Kahanek.
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Opera The Tempest by Zdeněk Fibich
Šedivý, Marek ; FARKAČ, Hynek (advisor) ; PAŘÍK, Ivan (referee)
The diploma thesis deals with opera The Tempest, Op. 40 by Zdeněk Fibich. Its task is to clarify the genesis of the work, its place in the context of the opera works written by this composer, mapping productions of the Tempest in Czech Republic and Slovakia, supplemented by a pictorial attachment from some historical productions. The main focus of the thesis is the dramatic analysis of the opera, which describes the basic differences between libretto (written by Vrchlický) and the William Shakespeare's original. The thesis also deals with the basic characteristic of characters and contains a list of Leitmotifs with examples. In the end of the thesis you will find a music and dramatic analysis of three particular places of the opera Tempest.
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Jiří Pauer and chamber works with predominance of stringed instruments
Mazancová, Pavla ; ČEPICKÝ, Leoš (advisor) ; PANOCHA, Jiří (referee)
This thesis titled Jiří Pauer and chamber works with predominance of stringed instruments is divided into three chapters. The first chapter deals with the composer's person, his studies, professions and musical style. The second part consists of listing all of Jiří Pauer’s available chamber works for string instruments. Most of the compositions include the date of creation and first performance, the year of publication and the publisher, an accessible recording, a brief analysis and the origin of the work. The third part includes the memories of his students. In the conclusion I summarize my findings.
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The development of interpretational demands on Czech composers works for percussion instruments from the 1960s to the present
Veselý, Šimon ; MIKOLÁŠEK, Daniel (advisor) ; BARTOŇ, Hanuš (referee)
This diploma thesis deals with the growing tendency of composers of Czech artificial music from the 1960s to the present to discover new technical possibilities of percussion instruments and then apply them to the musical process. The work contains several notes about the historical re-evaluation of the percussion instruments in the hands of the composers, and the emancipation of the percussion instruments in the work of Czech composers. The work contains several theoretical and interpretative analyzes, namely the analysis of works by Miloslav Kabeláč, Marek Kopelent and Daniel Chudovský. The aim of the work is to point out the increasing demands for interpretation of contemporary music for percussion instruments, but also the resonant plurality and openness of various composing personalities of the selected time period.
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