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Works for viola solo in 20th and 21th century focused on Czech composers
Nouzovská, Kristina ; PĚRUŠKA, Jan (advisor) ; VIČAR, Jan (referee)
This dissertation is looking into a problematic of solo viola repertoire in 20th and 21th century focused on Czech composers and with a selection of major international works.
It deals also with a development of viola as a solo instrument thanks to its interpreters. It would be almost impossible to get on viola on solo concert stages without them.
This thesis is divided into four main captures, which are focused mostly on single pieces and it is written from an interpret´s point of view.
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MY ENCOUNTER WITH CZECH PIANO LITERATURE AND MUSIC
Lin, I-Hsien ; MALÝ, František (advisor) ; KRAJNÝ, Boris (referee)
This thesis presents my encounter with Czech piano literature. The first chapter attempts to define the term „piano literature“ and describes the origins of piano literature. The second chapter outlines the history of Czech piano literature. The third and crucial chapter analyses Czech composers whose works I present at my final recital. I compile their personal and artistic circumstances and their significance for the Czech culture, and explain my relationship with their work.
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Janacek´s sčasování and spletna
Bogišová, Lucie ; KREJČA, Tomáš (advisor) ; OPLIŠTILOVÁ, Iva (referee)
This master’s thesis deals with the interpretation of the sčasování and spletna, two of the key musical theoretical concepts of Leoš Janáček (1854-1928). The first half of the text is trying to term of sčasování and many of related terms with him to approach from the standpoint of Janáček's theoretical texts and studies by leading Czech musicologists. Also here we highlight the elaboration of the concept in the form of a discipline called musical kinetics, and all formal knowledge of the sčasování here are in the form of dictionary watchword. The goal of the second half of the work is to map the content of the concept spletna and related concepts within terms pocit and pacit and point out that their development in Janáček's creative thinking. Also here is a theoretical work of Janacek's like the basic assumption for our interpretation on which the findings are based on our comments to the reflection spletna for a number of Czech and foreign authors. Even with terms of spletna, pocit and pacit, we evidence clarification of these terms, that will be in the form of the real and the imaginary tone, which characterized Karel Janeček. The main benefit of the work is to bring the music of Janáček's central theoretical expressions in the form of today's musical terminology and hold all-encompassing terms and their interference to modern theoretical research. Using the description of the concepts we examined we also had a chance to point out some interesting moments in the composer's theoretical thinking.
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