This thesis deals with social environment, especially its influence on out-of-school musical education of children. The thesis also examines factors, that influence out-of- school education of children. The thesis contains theoretical and practical part. In theoretical part the term of social environment and its possible influence on out-of- school musical education of children are defined and clarified. Different social groups, that children usually walks through in their lives, are described in individual chapters. Big attention is given to these social groups. In thesis problematics of influence of massmedia on children's musical development is delineate. The thesis also offer detailed list of institutions in which children have opportunity to musically educate themselves. The practical part consists of research of influence of social environment on out-of-school musical education of children and maps factors, that decide where children musically educate themselves, which musical instrument children play and also delineates problematics outlines of commuting to out-of-school music instititions. The research was realized in the form of questionnaire for parents of children, who study on three elementary art schools in cities, which significantly differ in size. It was ZUŠ Vimperk, ZUŠ Bohumila...

This work seeks to verify the possible construction of a kindergarten in very confined conditions in the courtyard so that children can take dignified first steps in educational facilities and at the same time to economically use the land in the city center.

1 ABSTRACT The thesis discusses possibilities of application of the concept of lifelong education in Basic Art Schools. The goal of the thesis is to propose a basic model of adult education which could be applied in Basic Art Schools. It focuses on the analysis of the literature on lifelong learning, lifewide learning, further education, and also on the analysis of strategic documents of the European Union and the Czech Republic in the field of lifelong learning and further education. Based on the analyses of the documents and external environment, a model of adult education in Basic Art Schools is proposed, the applicability of which is verified by a research investigation. A survey research examines the existence of education of diverse target groups of adults (both laymen and experts) in Basic Art Schools in Prague, the ratio of adult to younger students and the employed methods of their education. Structured interviews among five headteachers of Basic Art Schools in Prague clarify specific details of the process of educating adults in Basic Art Schools and provide more observations on the topic. The thesis contributes to the advancement of the concept of lifelong learning in the sphere of Basic Art Schools. Also, it brings forward possibilities of use of vacancies in Basic Art Schools for adult...

Focusing on Cyrene and Serima art workshops under the tutelage of Paterson and Groeber, respectively, the study acknowledges the foundational importance of Christian art (from the late 1930s up to the 1960s) in the rise of prominent first generation artists in Zimbabwe such as Mukomberanwa, Ndandarika, Khumalo, Songo, Sambo and many others. It rejects perceptions of African modernism as inauthentic imitations of artistic innovations that originated with European art. While accepting that there was a deliberate fusion of traditional art into mission mainstream education to produce Christian art forms with a strong Africanised identity, the study reveals missionaries’ conservatism and restrictions on artistic freedom. It, therefore, locates the formation of modern art in Zimbabwe largely within a broader spectrum of Africans’ encounter with colonialism or western culture which induced artists to invent new artistic expressions reflecting their own emergent political and socio-economic circumstances. The novelty and outright rejection of missionary impact are, therefore, alien to the natural synthesis that informed artistic modernism in Zimbabwe. / Art History, Visual Arts and Musicology / M.A. (Art History)

My dissertation deals with the reform of the elementary artistic educatin in Czech Republic and opinions of the the teachers on it . The theoretical part describes the history and development of elementary artistic schools, the Framing education program for artistic education, project PILOT ZUV and the manual for School Educational Program. The practical part contains opinions of 13 teachers and headmasters of Elementary Artistic Schools in South Bohemia on the creating of School Educational Program at their schools. There are also their opinions on practical using of SEP and their view of the effect of the SEP on the students. The results are made by qualitative research.

Primary art schools enjoy a long tradition in our country. The Primary Art School ``Kochana z Prachové{\crqq} in Strakonice celebrates already the 70th anniversary of its foundation. It is surprising that nobody has attempted to elaborate a comprehensive work concerning its history for the whole period. With respect to the fact that I have been teaching the piano playing here since 2006 and therefore I have become a part of it, I have chosen just the history thereof as the subject of my thesis. The Primary Art School participates in many cultural activities of the town of Strakonice and it is an important educational institution because it provides education to 750 pupils in four subjects - the musical, graphic, dancing and literary-dramatic ones and it prepares talented pupils for the study at secondary schools, colleges and universities focused on arts.

The territory in question for the design of architectural study is located in the city of Brno-Zidenice, cadastral area of Zidenice, on the left (east) bank of the river Svitava, 2 km east of the historic core. An area of about 4.1 ha is bounded on the south Bubenickova street, on the east side is street Kopernikova, Lazaretni is on the north and on the west side is nameless street, which currently serves as a handler - connecting. The subject of this diploma thesis is the architectural study of the design of the urban spatial structure with intensive use of city urban area, designed in pre-diploma project, which preceded diploma thesis. The meaning this proposal is to achieve higher densities while maintaining quality of life and living environment. The shape of the object´s ground plan based on the area. The shape defined Bubenickova street from the south side and street Kopernikova defined the shape from the east side, which are themselves almost perpendicular. Also the shape is parallel with a very important point territory - the urban spa (architect B. Fuchs, 1931), which is adjacent to the proposed facility and the stresses their importance in terms of architecture. The spatial resolution respects the surrounding buildings. The aim is to release the most western part, which is defined for parking, urban public transportation, entrances to underground garages and green areas. Green area is also located in the northern part of the territory where it is created park with a water feature and tangled hiking trails. From the western and eastern parts of the object is tree-lined because the object is very the close to the surrounding streets. The object is for vehicular traffic completely closed and is only for pedestrians. But it also has a public plaza with green areas and water features for relaxation and wellbeing.

This thesis is about two Swedish artists named Julia Beck (1852–1935) and Maj Bring (1880–1971). The idea was to see what kind of differences there were between these two Swedish female artists. They both studied at the Swedish Art academy and both had very successful careers, though they belong to different generations of artist. The first question to be answered, was is if you could see any similarities or differences in their education and career. The other question in this thesis was how the female art was perceived during the different art exhibitions which Julia Beck or Maj Bring participated in. Could you see if the art were perceived and judged differently due to, they being female artist? And could you see if there were any kind of resistance towards them as artists or towards their art and if so, how did it express itself? To answer that question the analysis is based on art exhibit reviews with a theory based on a gender perspective and of Linda Nochlins essay Why have there been no great women artists? This to help with looking after what kind of social barriers or resistance is visible in these art critics reviews.                                                                  The results of the biographical comparison showed many similarities and some differences. Such as them both studying in Paris after their education in the Swedish Art academy and both frequently traveled back and forth to stay in France for as long as possible. Eventually Julia Beck moved to France and stayed there until her death. While Maj Bring lived her entire life in Sweden and started an art school in Stockholm and paused her artist career for a while. Meanwhile Julia Beck dedicated her entire life to her artistic career. In the results of the analysis, you could clearly see several kinds of resistance to both the female art and the female artists. They were very much treated differently than their male colleagues. For example, in Paris there were specific places where the female artists showed their art. The critique reviews often explained the female art with female qualities and said that female artist had specific characteristics that made them more qualified in specific areas that was thought women belonged too.

The thesis "J. S. Bach and His Piano Pieces for Music Art Schools" is focused on interpretation of the piano music of Johann Sebastian Bach. For the right understanding of the composer's musical narratives, it is necessary to acquire the basic knowledge and principles of the music theory in the Baroque era and to become familiar with the environment in which this extraordinary composer had been professionally developing and composing. This musician is presented here as the founder of a modern fingering whose musical language brought a change into musical thinking and he became inspiration and a role model for composers of the next centuries. This thesis highlights the importance of appropriately selected musical materials in piano teaching and it prefers the performance to be as authentic as possible. The main purpose of this paper is to update the knowledge of methodology and to find a comprehensive guide to a correct understanding of musical language of this genius that would help the music teachers introduce to pupils the beauty and timelessness of Bach's musical work and that would motivate them to other musical discoveries and make them desire to be further educated in music.

I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.