|
|
Czech Travels to Richard Wagner
Fránek, Michal ; Kopecký, J.
The study explores the phenomenon of Czech travels to famous German composer Richard Wagner and to the places associated with his cult (Munich, Bayreuth, Zurich, etc.). It focuses on the Wagnerian journeys – accomplished and not – of Czech composers (Bedřich Smetana, Antonín Dvořák, Zdeněk Fibich, Josef Bohuslav Foerster), performers (Ema Destinnová, Karel Burian, etc.), music critics (Otakar Hostinský, V. V. Zelený), painters (Jaroslav Čermák) and writers (Julius Zeyer, Jaroslav Maria, Teréza Nováková), tracing their different motivations.
|
|
|
The Bayreuth Music Festival in Nazi Germany
Kapsová, Anna ; Lizcová, Zuzana (advisor) ; Emler, David (referee)
The topic of the bachelor thesis is the Bayreuth Music Festival in Nazi Germany. It is an important music and theatre festival associated mainly with the personality of the German composer Richard Wagner, who founded it. This composer is often associated with Nazi ideology for several reasons, which will be discussed in more detail in the theoretical part of the thesis, which also deals with the issue of Nazi propaganda in the media and propaganda in connection with music. After the appointment of Adolf Hitler as German Chancellor and the rise of Nazism to power, the Bayreuth Music Festival, like other cultural events, was brought under Nazi control and used as a political tool for propaganda. Their operation was thus significantly affected at this time and subsequently during the Second World War. The practical part of the thesis focuses primarily on the course and form of the Bayreuth Music Festival between 1933 and 1945, as well as on Adolf Hitler's participation in the festival regarding, among other things, his political speeches, the organization of receptions for artists, the honouring of the late composer Richard Wagner, and the financing of the festival. His personal relations with the Wagner family and the Bayreuth Music Festival are also mentioned in connection with the press.
|
|
|
Joseph Aloys Tichatschek (1807-1886) "Tenor's greatest hero"
Kajzar, Martin
Joseph Aloys Tichatscheck was one of the distinctive figures of singing not just for his original performances of the operas and music dramas by Richard Wagner, but also for his artistic complexity. During his life he had a rich career as a singer in Germany and in many other European countries. He was practically a symbol of singing of Wagner's music drama and a true archetype of the Heldentenor. During Wagner's life, moreover, he became a major promoter of the composer's work. The Dissertation Thesis was founded on research of sources both in the Czech Republic (Prague, Teplice nad Metuji) as well as abroad (Bayreuth, Berlin, Dresden, Frankfurt, Leipzig, Moscow, Neuruppin, Vienna), but also thanks to digitized global archives and national libraries, documents, handwritten materials, newspaper and magazine reviews, photographs and family memories (courtesy of Monika and Joachim Zimpel). Today it is more than two centuries since the artist's birth, and it is the aim of the Dissertation to present a complex artistic and personal profile of Joseph Tichatscheck as the outcome of the Author's original research activities.
|
|
|
Joseph Aloys Tichatschek (1807-1886) "Tenor's greatest hero"
Kajzar, Martin
Joseph Aloys Tichatscheck was one of the distinctive figures of singing not just for his original performances of the operas and music dramas by Richard Wagner, but also for his artistic complexity. During his life he had a rich career as a singer in Germany and in many other European countries. He was practically a symbol of singing of Wagner's music drama and a true archetype of the Heldentenor. During Wagner's life, moreover, he became a major promoter of the composer's work. The Dissertation Thesis was founded on research of sources both in the Czech Republic (Prague, Teplice nad Metuji) as well as abroad (Bayreuth, Berlin, Dresden, Frankfurt, Leipzig, Moscow, Neuruppin, Vienna), but also thanks to digitized global archives and national libraries, documents, handwritten materials, newspaper and magazine reviews, photographs and family memories (courtesy of Monika and Joachim Zimpel). Today it is more than two centuries since the artist's birth, and it is the aim of the Dissertation to present a complex artistic and personal profile of Joseph Tichatscheck as the outcome of the Author's original research activities.
|
|
|
F. Nietzches and A. Schopenhauers Philosophy of Music
ŽIŽKOVÁ, Lenka
The thesis deals with the problem phenomenon of music in the philosophy of Arthur Schopenhauer and Friedrich Nietzsche. What place does the music occupy in their philosophy, how they understood it and defined it? These are the main issues that are gradually discussed and answered. The thesis is divided into three parts. The first part of the thesis deals with Schopenhauer's concept of music, the second part is about Nietzsche's concept, and the third part is an assessment of the differences of their opinions of the issue of will as music. There is also a practical part in the thesis, namely the analysis of Nietzsche's early musical composition. I also refer to the personality of the composer Richard Wagner, who was influenced by both philosophers and vice versa. At the end of the thesis I evaluate and summarize whether the aim of the thesis was fulfilled and if it answered the aforesaid questions.
|
|
|
On a Question of the Dramaturgy of Kittl's Opera Bianca und Gisuppe oder Die Franzosen vor Nizza
Šochman, Martin ; Ottlová, Marta (advisor) ; Gabrielová, Jarmila (referee)
The Czech opera production of the so called "Pre-Smetanian" era represents a topic quite neglected by music historians. It is therefore the goal of this master's thesis to repay this debt by showing Kittl's opera, Bianca und Giuseppe oder Die Franzosen vor Nizza, (the libretto, written by Richard Wagner, based on the novel, Die hohe Braut, by Heinrich König) as a work of art which illustrates the high quality of the Prague opera scene in the mid-1800s. The core of this thesis consists of a dramaturgical analysis of the final form of the mentioned opera. This analysis advances in three steps. 1. The main idea of König's novel and its aesthetic are presented in the light of his life. 2. The following chapter concerns Wagner's libretto. Apart from showing the differences between the novel- and opera aesthetics, the emphasis is on the dramaturgical means which Wagner employs: various usage of the couleur locale, ensemble of the pezzo concertato type, working with specific time structures in the opera or allegorical usage of the so called - as Frenchmen say - spectacle d'optique. 3. The next chapter strives to assess the extent to which Kittl succeeded in expressing Wagner's intentions or, in another words, the extent to which Wagners's "poetic intention" (dichterische Absicht) came true in Kittls's music....
|
|
|
The theory of intermediality in Heiner Goebbels's theatre
Mocek, Jan ; Pšenička, Martin (advisor) ; Just, Vladimír (referee)
The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.
|
guest ::
