The submitted thesis deals with Antonín Dvořák's trilogy of concert overtures Nature, Life and Love, Op. 91-93. After summarising the current state of research in existing literature followed by the overview of music and non-musical sources, the overture - and mainly concert overture - is depicted as a music genre and Antonín Dvořák's overtures are presented in general. Integral element of the thesis is a summarization of circumstances of the given works' origin and thus also putting them into the context of composer's oeuvre. However the focus of the thesis lies in a musical-analytical insight into each of the three overtures (In Nature's Realm, Op. 91 [B 168], Carnival, Op. 92 [B 169], Othello, Op. 93 [B 174]), where the author also takes their existing analyses into account and pays attention to their genesis according to the sources. Key words Antonín Dvořák, Concert ouverture

This thesis presents personality of Josef Suk, the great violinist of the 20th century, who followed his famous ancestors - Antonín Dvořák and Josef Suk. Describing Master not only as a violinist, but also as a chamber musician, conductor and pedagogue. Besides personality this famous violinist the work pointing on Czech violin school, which he representatived and his quality of playing the violin was on the top of the violin elite on the world. There is describe co-operation with the others artists, who have important place in his life. Excipting Suk's path work undrapes his private and ideas too. In the end of work is interview with PhDr. Jana Vojtěšková, the author of exhibition about Josef Suk, which was big benefit for my thesis.

Detta är en skriftlig reflektion inom konstnärligt självständigt arbete på kandidatnivå som behandlar ämnet nervositet. Studien påvisar att nervositet är kroppens naturliga reaktion på en hotfull situation och hur man som musiker och cellist mentalt kan arbeta med att förbereda sig inför nervösa situationer. Genom Antonín Dvořáks cellokonsert i b-moll Op. 104, sats 1 utforskas tekniska svårigheter med stycket med anknytning till nervositet och provspelningssituationer. Genom att prova ett antal metoder och tankesätt för att motverka prestationsångest samt intervjua en sakkunnig jurymedlem har frågan kring vad man kan göra för sig själv och vad som förväntas i en provspelningssituation utretts. Detta resulterade i insikten kring att mental styrka är något som går att bygga upp och påverka själv om man uppövar ett konstruktivt tänkande. Utöver detta upptäcktes också vilka parametrar som var viktigast i en provspelningssituation där tonkvalité, rytm och intonation stod i centrum. Några viktiga passager i Dvořáks cellokonsert diskuterades vidare och tekniska aspekter för att underlätta dessa framlades. Studien kan komma till nytta för unga musiker, främst cellister, i deras förberedelse inför nervösa situationer, så som provspelningssituationer, där Dvořáks cellokonsert i b-moll Op. 104 är mycket vanligt förekommande. / <p>Inspelning av Antonín Dvořáks cellokonsert i b-moll, Op. 104, sats 1. takt. 82-267 (exposition och genomföring som är standard i provspelningssammanhang). Pianist: Georg Öquist. Lokal:Sveasalen (4301), Kungl. Musikhögskolan, Valhallavägen 105, 115 91 Stockholm.</p>

Spirituality of Psalms in the Context of Antonín Dvořák's Biblical Songs. The aim of this work is an introduction with general pieces of informations about psalms, about their primary theological scope, about spiritual world and spiritual aspects, because they in fact include the human life in all circumstances. Fundamental commission is to introduce musical work of the czech composer Antonín Dvořák (1841─1904) Biblical Songs. This work includes ten songs. Lyrics of these songs elected Antonín Dvořák himself from the Book of Psalms. This book is a part of the Old Testament. The psalms are not only a prayer of a person. The psalms are a perspective and a dialogue of person and God and the psalms make a relationship with God. Subject matter of this work will be to find a communication between a person and God and the reception of the words of God too. Very important in this case is the state of mind in thoughts and in emotional feelings. The emotional feelings and thoughts are a part of the composer's aith. The composer receives the faith from God and the musical work of art, Biblical Songs, is the answer to God. Keywords Psalm, prayer, spiritual formation, Biblical Songs, Antonín Dvořák, musicology

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Master of Music / Department of Music / Joshua Oppenheim / Julie Yu Oppenheim / The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).

In this Master's thesis, I attempt to capture the disparate semiosis of two musical genres - a traditional opera, Rusalka, which has a unique position in Czech national music, and a musical of the same name. On the basis of theoretical findings from semiotics as a science, from the approaches of F. de Saussure, C. S. Peirce and R. Barthes, and by means of semiotic analysis, the thesis unravels semantic elements that are specific for theatrical art. Attention is directed at the symbol as a major tool for semiosis and the classification of symbols on the basis of Peirce's three ontological categories. The analysis focuses on decoding the semiotic systems used in the two genres (the libretto, the music, the characters, the story, and the technical and symbolic means that are employed). The analysis also deals with the question of intertextuality and the ideological background of the text, and attempts in this way to compare the differences and/or the similarities of diverse semiotic codes of the same class, and to capture their originality and specificity. At the same time, the thesis is focused on the dominant semiotic code of the two genres. This is, on the one hand, determined by the systemic distinctions between opera and musical theatre, while, on the other hand, it is primarily predetermined by...

This diploma thesis deals with Moravian Duets op. 32 written by Antonín Dvořák. Including comparsion of manuscript and contemporary edition of notation and comprehensive chapter which analyse recordings of this piece. Recordings are from different types of choirs. They are represented by children's choirs, women choirs and by female component of mixed choirs. Next chapters focus on analysis of each duet from perspective of interpretation, draw attention to difficult parts and gives recommendations for the interpretation. The analysis is mainly focused on the difficulty of interpretation in terms of vocal technique. The final chapter describes vocal exercises and recommendations for easier practicing and more convincing interpretation of this piece.

Public diplomacy has become an integral part of international relations in the recent years. Effective communication is the key in solving international conflicts and in strengthening the partnership between nations. Building an excellent reputation of the individual country among the foreign community has no less importance. This master thesis deals with the promotion of Czech culture as an important part of public diplomacy in the US, particularly in New York, partly in Washington, DC. First and second chapter provide a theoretical framework for the following issues. Basic concept of public diplomacy is clarified there. The third chapter then presents specific players and partners whose cooperation the author deals in the fourth and fifth chapter. The fourth chapter discusses in detail the Film Festival Panorama Europe, Europe's largest film festival in New York and tries to map its promotion. This event is significant in that it is an original project of the Czech Centre New York. The Film Festival currently has a lot of partners and is held under the auspices of EUNIC. The fifth chapter presents a unique project, which has been involved in over twenty-five different players. Main theme was the freedom celebration, celebration of the 25th anniversary of Velvet Revolution. The main objective of this thesis is to analyze how players contribute in building the reputation of the Czech Republic in the USA and how they promote their activities. Everything is based on case studies.

Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the compositional ways and methods of both Dvořák's Serenades. The composer in his Serenades depicted all layers of meaning of this genre as was such a noble simplicity, oscilation of the genre between chambre and orchestral music between artistic or rather entertaining character of music, continuity of original serenades and history of the genre. Dvořák had created the works which in certain aspects foreshadowed near future (neoclasicism).