Thesis (M.M.)--University of Wisconsin--Madison. / Typescript. Digitized and made available by the University of Wisconsin Digital Collections Center as part of Minds@UW. Description based on print version record. WU Includes bibliographical references (leaves 142-144).

Thesis (M.M.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 142-144).

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 144-145). Available also in a digital version from Dissertation Abstracts.

The problem is to relate four parameters, thematic development, chord tension, tonality, and rhythm to musical Growth in Karel Husa's Music for Prague 1968. The analytical technique consists of determining a typology and relating that to Growth and is applied in small dimensions to the "Introduction" and in large dimensions to the whole composition. Movement in the composition is goal oriented, and each parameter contributes in different ways, one providing contrast, another continuity, and another variety. Shapes are delineated by cadences characterized by a decrease followed by an increase in Movement. Growth is characterized by Shapes in which Movement starts at a low level, moves to a climax three quarters through, and relaxes for the end of the Shape.

The purpose of this study is to identify some of the performance problems associated with contemporary piano music, using the Sonata No. 2 for Piano by Karel Husa (1921 - ) as the basis for the discussion. In so doing, this study identifies Karel Husa as an important contributor to twentieth century piano repertoire. Personal interviews and correspondence with the composer provided biographical, analytical, and stylistic insight for this study. Supplemental information on Karel Husa was obtained from journals, newspaper articles, and dissertations. The first chapter provides biographical information gleaned from the interview, with emphasis on Husa's keyboard compositions and early compositional influences. The second chapter offers a detailed formal analysis of the Sonata No. 2 from the perspective of motivlc development and cyclic unity. The final three chapters focus on twentieth century performance problems as exemplified in Karel Husa's Sonata No. 2 for Piano. In Chapter 3, the discussion of notation provides a general background on notational developments in pitch and rhythm in the twentieth century, with the Sonata illustrating these procedures. The fourth chapter concentrates specifically on Husa's individual rhythmic language. The final chapter is devoted to Husa's coloristic use of the piano, addressing his unique contributions to the tonal and timbral resources of the instrument. Innovations in dynamic gradations, playing inside of the piano, and extensive use of all three pedals are discussed, as well as the special techniques required to achieve these sounds. In all the chapters, musical examples from the Sonata Illustrate the discussion, and reprinted by permission from the publisher. Throughout the dissertation, Karel Husahas provided Invaluable assistance and insight thus offering readers an important link to both the Sonata No. 2 and the composer himself.

The main focus of this thesis is to describe the life of Karel Husa and his work. Special attention is payed to works for reed instruments. The thesis is seperated into 4 chapters. At the beginning I characterize the development of the music of 20th century and I present summary of the czech music composers, which have composed and some of them still work in USA. In the 3rd chapter I focuse on the life of Karel Husa and in the final chapter I deal with his work for reed instruments. In this part I analyse chosen pieces from the structural and compositional point of view and I've tried to find its main link components and major differences.

In this dissertation thesis I focus on the overview of some outstanding international clarinet competitions, their repertory, and compositions written to order for the given competition. The itemization of compositions I enriched by the characteristics and analysis of some compositions focused on the difficulty and appearance of contemporary clarinet techniques. Last but not last, I write about the establishment, history, and point of each competition and their contribution to young talented musicians.