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.

The subject of this work is an art group of four painters that was founded in 1959 and named Experiment. Artists of this group - František Dvořák, Radoslav Kutra, Jaroslav Uiberlay and Miloslav Jemelka - were born in the late twenties of the twentieth century. They belonged to the generation of painters, who had the opportunity to study after the second world war. They also played a crucial role in the forming of artistic expression in the sixties in Czechoslovakia. The main effort of these painters was to overcome the uniformity of socialist realism. They intended to return to and evaluate the visual art produced between wars in Czechoslovakia and in Europe. The feeling of vulgarity of descriptive realism prompted many artists to establish art groups in which their ideas and thoughts were formed due to the mutual confrontation. At the turn of the fifties and sixties was established a large number of "creative groups", whose development was possible due to the Union of Czechoslovak visual artists. Although the Union still served as a strict supervisor, it also allowed many young artists to exhibit their work for the first time in public. Creative groups, along with the Experiment, which was rather small, but compact formation, had merit in the overall release of the intricate situation in the Union. The...

Czech born art historian Max Dvořák is known as one of the leading persons of modern heritage protection in Central-East Europe. He formulated, similarly as his own teacher Alois Riegl, position in manner of science work typical for Vienna School of Art History. Main purpose and contribution of this work lies in a comparison of some parallels of phenomens including reception of his ideas in other states of Central-East Europe: former Czechoslovakia, Poland, and Hungary or Slovenia from the early organized conservation efforts in former Austrian Empire in 19th century to presence. On a theoretical level, in former Czechoslovakia, the Dvořák's modern conservation principles were accepted as universal. Unfortunately, in practice, this dominant discourse was changed by conformity in a conflict with political reality. The 1950's mean a stage of expansion of the state heritage protection, but a bitter price was paid by superordination of the political criteria to the professional ones. The moral ethos suffered also a lot of injuries. This resulted in preferring bureaucratic formalism over factual approaches, voluntarism, in compromise ability and in unwillingness to risk ones position for getting involved in fundamental questions of the preservations of monuments without any deeper interests in...

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.

This thesis is focused on choral traditions in the city of Karlovy Vary. It maps music and social life in the city from the 19th century to the present, including some of the major personalities in music. It also concentrates on all the important choir bodies that were or still are active and which were important for the cultural life of the city. Emphasis is placed primarily on the Karlovy Vary Choir, the longest-performing choir in the city, including all choirmasters who participated in the running and artistic leadership of the choir. Memories of the oldest members of the choir, emeritus or still active, are also incorporated. At the end of the thesis, the repertoire of the choir and the pictorial attachment are presented.

The harmonic practices of the late romantic period are often discussed in general terms, categorical phrases, and a score of subjectivisms characteristic of the era. It is the purpose of this thesis to clarify certain aspects of the harmonic vocabulary which developed in the late romantic period.

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).

(in English): Vladimír Dvořák (14 May, 1925 - 28 December, 1999) is mainly known to the public as the presenter of Televarieté, a TV entertainment programme, and older generations may also remember him as a music programme presenter and an author of lyrics to pop-music songs of the 1960s. However, this limited perception calls for a correction, as Vladimír Dvořáka was, without exaggeration, a universally talented man. As this text aims to show, Dvořák was strong in fine art and literary disciplines (wrote a number of librettos), as well as on the script-editing, programme presenting and acting sides, and all these artistic talents were sheltered with and maybe even shadowed by his organisational skills (completely unknown to the public) combined with enormous proactivity and high ambitions. During his presence at ČST Vladimír Dvořák created a TV entertainment development strategy that he worked on until his death. He was diplomatic and creative at the same time, and he introduced a number of very successful TV formats to feature many big names, at least those tolerated by the totalitarian regime. Vladimír Dvořák knew how to manoeuvre his way through the clearly demarcated world of communist TV broadcasting without having to make dirty compromises with the regime's officials. Moreover, although he...

The thesis constitutes the analysis of selected Czech dramas from the beginning of the 20th century representing various portrayals of national leaders. In my view, the dramas are Apollonian images of a kind representing the dreams of their creators about the strength and greatness, both individual and national. That is because, on one hand, the national leader is an exceptional individual, an exquisite human specimen and as such he or she corresponds to Nietzsche's characterization of a tragic hero as the highest phenomenon of the will. But at the same time, he or she is a national educator. Individual works represent various forms of how the leader educates and edifies the nation and whether he or she leads by command or by example. The dramas show us the leaders, who not only tame, purify, but also urge to growth those, whom they lead. The approach of the Czech playwrights is essentially mythopoetic. Their works constitute contributions to the creation or re-creation of national mythology, in other words, they deal with the meaning of the existence of the nation, or the national condition. They represent a dialogue or a polemic with one particular national mythology formed at the time that of T. G. Masaryk as he stated it in his works Česká otázka (1895), Naše nynější krise (1895), and Jan Hus...

The dissertation thesis deals with the interpretation of the "beyond-the-man" concept, which is being interpreted, on one hand, as a part of the art-theoretical and art-historical European modernity of the end of the 19th and beginning of the 20th century, on the other hand, as a theoretical and methodological starting point for an interpretation of the transformation of the human image in the painting of the second half of the 1940s until the beginning of the 1960s. The foundation for such an interpretation is an assumption of the necessary transformation of the intellectual concepts after the World War II, as it was postulated by Theodor W. Adorno and how it was researched by Giorgio Agamben and Miroslav Petříček in the political-philosophical discourse. The thesis thus researches the "beyond-the-man" concept in the theory and history of art of the end of the 19th and beginning of the 20th century in a way of it being as re-formulated art-creative concept after 1945, evident especially in abstract painting. The interpretation of the "beyond-the-man" concept is developed on reading of Fritz Novotny's interpretation of Paul Cézanne's art from the beginning of the 1930s. Novotny in Cézanne's painting described the concept of "beyond-the-man" (Außermenschlichkeit) as a breaking point of the...