Wenn es sich also bei diesem dritten Jahrhundertviertel auch um keine abgeschlossene Epoche handelt, so verspricht seine Betrachtung doch Aufschluß über die institutionellen Rahmenbedingungen einer entscheidenden musikgeschichtlichen Weichenstellung: Gab es vor 1750 noch kein einziges musikalisches Bühnenwerk in russischer Sprache, so bringt das folgende Vierteljahrhundert nicht nur den ersten russischen Operntypus überhaupt – die russifizierte \"opera seria\" –, sondern auch seine Überwindung zugunsten der russischen komischen Oper, die die Produktion der folgenden Jahrzehnte dominiert und im 19. Jahrhundert zur russischen Nationaloper führt.

Die hier durchgeführte Analyse des Repertoires der Schlesischen Staatsoper dürfte es demnach ermöglichen, weitreichende Schlüsse in Bezug auf das Fungieren dieser Institution in ihrem Milieu zu ziehen.

Wenn man die Geschichte der Oper und die der Musik im Theater Galiziens in der Zeit des 19. und Anfang des 20. Jahrhunderts untersuchen will, muß man drei einzelne Geschichtsverläufe in Betracht ziehen. Die österreichische, polnische und ruthenische (ukrainische) Musikgeschichte werden durch eigene historische und soziale Faktoren sowie nationale Traditionen der Kunstentwicklung gekennzeichnet. Nur unter diesem Aspekt kann man die besonderen ästhetischen Ziele, wie auch konkrete schöpferische Ergebnisse jeder nationalen Opernschule definieren.

Wenn sich auch die ältesten Musikdokumente des Banats auf die reichen kirchenmusikalischen Traditionen dieser südosteuropäischen Grenzregion beziehen, so spielte trotzdem das Operntheater die wichtigste Rolle als Kulturfaktor und Multiplikator in der musikalischen Erziehung der bürgerlichen Gesellschaft. Die Oper feierte gleichzeitig einen triumphalen Einzug in die Banater Städte Temeswar, Arad, Lugosch, Orawitza, Reschitza und Werschetz.

Die Oper stand schon immer im Zentrum des Interesses des rumänischen Publikums. Keine andere Musikgattung verstand es, in einem so hohen Maße das Interesse des Publikums zu gewinnen. Die Optionen gegenüber der Oper wirkten wie Magnetfelder und wurden von den zahlreichen Musikmelomanen affektiv wahrgenommen, die beliebtesten Melodien der Arien und Chöre konnte man selbst auf den Straßen wahrnehmen. Keine andere Musiksparte beanspruchte in den Tageszeitungen und Zeitschriften so viel Raum wie das Musiktheater und die rumänische Oper.

The dissertation focuses on the research of the audience and the perception of athletes with a disability, mainly Paralympians, in the Czech Television (Česká televize), which regularly broadcasts a program about disabled athletes called Paralympic Magazine. The topic also appears in other news programs (ČT24 and ČT sport). The research aims at showing the media image perception of the disabled sports by the television viewers. The theoretical level emphasises mainly the audience and athletes with a disability. The dissertation posed the following research questions: How do television viewers perceive athletes with a disability? Does the audience admire or regret them? What do viewers say about the presentation of disabled sports? Can we identify any differences between the presentation of athletes with and without a disability? Are life stories of athletes with a disability important in the reports? Does the Paralympic sport make sense? The focus group interviews were set to get an answer to the questions above. The audience (50 television viewers) was divided into five groups of ten. The first group consisted of people without a disability who had been watching the Paralympic Magazine and had no disabled person in their family. The second group was composed of people without a disability who did...

The master thesis entitled "Podcasting - audio content in the digital era and its listeners in Czechia" is devoted to the phenomenon of podcasting which connects the traditional audio format with new digital technologies. It deals with its history and current state both abroad and in Czechia. It also describes the specifics of podcasting, compares it with radio programs, mentions the importance of podcast applications or the funding issue of independent podcasts. It focuses attention on the role of the audience in today's world and the associated concepts of participatory culture and user generated content. The audience is also associated with the uses and gratifications theory which tries to understand why people consume media content. The aim of the research part of the thesis was to obtain information about Czech podcast listeners with whom semi-structured interviews were conducted. The collected data were then processed using the grounded theory method. The findings are organized into five chapters in order to answer five research questions. They revealed the motivations of Czech listeners for listening to podcasts, their perception of podcasts in comparison with radio programs, their attitude to listening to Czech and foreign podcasts, their perception of podcast presenter and their attitude...

In higher education we are confronted with a number of challenges. This includes an increasing diversity of students with respect to their basic knowledge, motivation and learning skills. To overcome these challenges, we changed the instructional strategy from traditional lectures towards a more seminar-like format that actively engages students. In this article, we will reflect on difficulties that arose when implementing a voting system in a first-semester business mathematics course. We will give an insight into how we redesigned the traditional lecture in order to successfully launch this instructional strategy. In particular, we will show the extent of the benefit gained by combining an audience response system with a peer-instruction phase.

The aim of the study was to explore the sources concerning musical perspectives about performance anxiety and their influence on musicians. Since this study is a review of the available literature on this topic, I used mainly books, articles and reported case studies. The problems encountered while writing this dissertation were the lack of material available on the subject of using music to deal with musicians who suffer from performance anxiety. Musicians listen to music differently from non-musicians, and therefore, when using music to deal with their performance anxiety, a different approach would have to be used. In this dissertation four main perspectives of music and their relationship to performance anxiety are discussed. My general conclusion is that, although each theory sees performance anxiety through a different light, they all have the same general thinking about performance anxiety. Performance anxiety has to be dealt with separately and differently with each musician. Unfortunately there is no set pattern or plan that can be set down to alleviate performance anxiety. However, common symptoms and useful ways to deal with them are discussed. One very important point that I realised early on in my dissertation, was that performance anxiety has to be dealt with at an early age. Young musicians often suffer severely from performance anxiety. If this can be recognised early in musicians’ careers, they will start to learn to cope with the symptoms; it will become part of their learning process as musicians. I feel that there could be a more open approach to performance anxiety. Performance anxiety is often seen as a sign of weakness and is therefore often not discussed openly. The music therapist Pixie Holland says that people with a lot of stress in their lives are often not willing to admit that they have a problem coping with stress. Therefore, the first step to dealing with performance anxiety is for musicians to admit that they suffer from it and cannot cope with it by themselves. I recommend to musicians to read as much as possible about the subject of performance anxiety. The more one knows what happens while suffering from performance anxiety, the easier it might be to deal with it. Even though there is much documentation and literature available on the subject of using music to relieve anxiety and stress, there was only a small amount available on the specific use of music to relieve musicians’ performance anxiety. I therefore recommend further study on the effects of music on performance anxiety that musicians suffer in a musical performance situation. Copyright / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

In the previous two decades, live streaming has become a popular trend in the music industry. From TV and radio broadcast to live streaming on social media, the relationship between audience and performers has been transforming over time. In 2019, due to the sudden spread of Covid-19, the popularity of watching live streaming events reached an unprecedently peak. According to some market studies, this trend will continue even when the pandemic will be over. This research aims to explore how live streaming has changed the interaction between audiences and performers as a consequence of this great event.  In order to understand the current music live-streaming culture, an online survey, interviews and field studies were conducted to obtain insights about potential problems and needs in live streaming. Through the project, a new design feature, the “Cheering” function, is suggested as an additional function to the existing live-streaming platforms, to enhance and enrich the interaction between audience and performers.