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In my dissertation, I deal in detail with the opera Jenufa from the composer Leos Janacek and the librettist Gabriela Preissova. In the chapter the fourth and the fifth, I aim my interest to elaboration of this opera in the Theatre J. K. Tyl in Pilsen and in the National Theatre in Prague. In next chapters, I reworked my personal interview with one of the czech leading opera singer Eva Urbanová, which performed in many productions as main character Kostelnicka. I would like to convey deep experience of Urbanova's understanding of the character and of Janacek at all for the readers of this dissertation. At the end of my dissertation, I summarize Pilsen and Prague production with the conclusion that Prague production is much better not only in directing treatment but also in the music cast.

Entering this thesis was to design a building for the Brno Philharmonic. Brno Philharmonic is still housed in the Fellowship House, which for this purpose does not. Place for the design of the new building of the Brno Philharmonic Orchestra was chosen plot where the current parking lot, which is close to the Guildhall. In 1992 he founded the Association for the construction of a concert hall, which has since been seeking to build Janáček Cultural Centre. Concert hall with excellent acoustics, which is missing in Brno. The first attempt was in 1989, when it was announced architectural competition for a new building project was just prior to the commencement of construction works dropped. In 2003, the Statutory City of Brno announces an urban-architectural competition for the design of the building Janáček Cultural Centre, whose subject was the urban design of the entire area between the streets Besední, cheerful and Hotel International. Entering the competition was also the draft annex of the hotel International. The reasons for choosing this property was the strongest ties to the Meeting House., Position in the city center in a neighborhood with other major institutions, well-connected to public transport, the opportunity to realize the capacity underground parking. This year were started construction work on this place that has become a new building. The overall implementation takes place in two stages. In the first phase are carried out underground three underground floors used for parking. In the second phase confronts Janáček Cultural Centre. This competition for JKC winning studio M1. In the first round of the competition envisaged the demolition substation at the International Hotel and expanding the plot. In the second round it was only a plot parking spot without significant interference with the surrounding space. This version is valid to this day.

The locality is situated on the Veselá street in the historic centre near to Besední dům – the main seat of the Brno Philharmonic Orchestra. The site adjacent to the unfinished housing estates was chosen in a competition authority in 2003 primarily thanks to the position next to Besední dům. I tried to create a variant solution which could offer insight into the issue. The aim was to design a functional, operationally and economically less demanding object where the hall has excellent acoustics for classical orchestral music with a capacity of about 1000 visitors.

The panel discussion first focuses on the obvious gap between a relatively optimistic perspective on musical globalisation, mainly in view of non-Western popular musics, as a main trend in today’s ethnomusicology and the description of intercultural musical encounter as a difficult, lengthy and self-challenging process as suggested by Hans Zender and most examples from contemporary art music. Gerd Grupe emphasizes that non-Western popular musics include both forms that even out cultural differences by following Western commercial standards and, contrarily, forms that are highly dependent on local lingual or musical codes and thus cannot be transferred to an international realm. To illustrate the »existential« approach of art music composers, Zender quotes the case of Giacinto Scelsi whose music has received a profound influence from Tibetan music. Zender emphasizes that Scelsi has created – after a long period of crisis – a »Third Way« that can be understood from neither a purely European, nor a purely Tibetan perspective. The discussion then centres on the question of which influence Western concepts of history and the dynamics of »progress« have exerted on different traditional and contemporary forms of the world’s musics and to what extent the post-colonial polarisation of a »dynamic« Western culture and »static« non-Western cultures is still virulent in the discussion of these musics today. While Christian Utz emphasizes that many non-Western traditions that were deemed to have been preserved unchanged for many centuries for example the Japanese court music gagaku – have in fact changed considerably over the centuries and have been highly influenced by political and social changes, Peter Revers traces the idea of »making history« back to Friedrich Schlegel and describes it as very influential on the dynamics of Western music history. Andreas Dorschel raises the question, if early 20th century »national« schools and in particular the music of Béla Bartók and Leoš Janá􀃿ek can be seen as forerunners of trends in non-Western contemporary music that accentuate cultural difference. Christian Utz remarks that despite the fact that the music of Bartók has been a very important model for Asian composers in the process of creating a music independent of Romanticist symphonic clichés, elements of (neo-)nationalism in Bartók’s concept of music make it hard to see it as a model for a new music free of nationalist bias. Responding to a question from the audience, Andreas Dorschel summarizes that turning to music or art of other cultures might indeed be a signal for »weak« moments within a culture, but in turn this »weakness« proves the inner strength to challenge one’s own culture’s fundamental principles whereas discrimination and xenophobia are based on a very different kind of inner weakness where one is merely unable or unwilling to confront the Other.

An assignment of diploma thesis was to design a concert hall for Brno Philharmonic. Ten years ago, an architectural competition was held to design Janáček cultural centre on a plot between the streets Veselá and Besední. The winning project was simplified and divided into two parts (underground parking and concert hall). My proposal is based on the planned parking, which finally begins to build in 2015. Shape of the house respects the surrounding buildings. My aim was create the building, which would be functional, urban, beautiful and more economical than the winning project.

The Brno Philharmonic is renowned all over the world from London to Tokyo, but in its home town only has a small hall with poor acoustics not suitable for symphony concerts. The efforts to construct a worthy cultural venue to meet the needs of Brno go back to the interwar period and their implementation is still not in sight.The core of the project is a concert hall with capacity of 1,812. Its layout combines the advantages of standard shoebox-shaped halls and surround halls, because the best music experience gets the viewer who is quite close to the orchestra. The disadvantages of the former include poor contact with the orchestra in the rear seating, the latter sacrifice acoustical excellence mainly in the side and rear seating areas for audience proximity and visual stimulation. The building is composed of three functionally distinct parts: the audience’s part, musicians‘ background and technical equipment. The operation of each is placed in a horizontal part of a L-shaped solid. The vertical parts face each other creating a raised central cube containing the concert hall.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / Ce mémoire propose une analyse des dimensions formelle et mélodique du Quatuor à cordes no 2 (1928) du compositeur tchèque Leoš Janáček (1854-1928). Ces paramètres et leurs liens mutuels sont étudiés au moyen de la notion de « personnage musical », qui s’inspire du concept de «personnage rythmique» d’Olivier Messiaen. L’analyse de l’organisation mélodique dans l’ensemble du quatuor permet ainsi de démontrer comment des phrases mélodiques fortement caractérisées (les personnages musicaux) sont réitérées et articulées principalement par la juxtaposition à l’intérieur de chaque mouvement, donnant lieu à une forme originale et hautement répétitive. L’analyse paradigmatique de certaines sections formelles, ainsi que la mise en série de tous les personnages d’un même type, confirment l’importance de la répétition mélodique dans l’élaboration structurelle de l’œuvre. Par ailleurs, l’étude de la structure interne des personnages musicaux révèle que cette dernière résulte de la réitération de cellules mélodico-rythmiques. Ainsi, le même procédé de construction formelle par répétition et juxtaposition s’applique aussi bien au niveau de la succession des phrases mélodiques qu’à celui de leur structure interne. Les reprises des personnages musicaux s’élaborent comme le réaménagement de leurs cellules constitutives, donnant lieu à des structures mélodiques variées qui participent au renouvellement constant du discours musical, malgré son haut degré de répétitivité. / This thesis proposes an analysis of form and melody in Czech composer Leoš Janáček's (1854-1928) String Quarter No. 2 (1928). These parameters and their interconnectedness are studied using the notion of “musical character,” inspired by Olivier Messiaen's concept of “rhythmic character.” The analysis of the melodic organization within the entirety of the quartet allows us to demonstrate how strongly characterized melodic lines (the musical characters) are reiterated and predominantly articulated through juxtaposition within each movement, giving rise to an original and highly repetitive form. The paradigmatic analysis of certain formal sections, as well as the seriation of the same type of characters, confirms the importance of melodic repetition in the structural elaboration of a work. Furthermore, the study of the musical characters shows that their internal structure is itself based on the reiteration of melodico-rhythmic cells. Therefore, the same procedure of formal construction through repetition and juxtaposition applies just as well to the level of succession of melodic lines as to the construction of their internal structure. The recurrence of musical characters builds up like the rearrangement of their constituent cells, giving rise to varied melodic structures that take part in the constant renewal of the musical discourse, despite its high degree of repetitiveness.

DIPLOMA THESIS Leoš Janáček's Lachian Dances and their use in music education at primary school Eliška Mervartová ABSTRACT The diploma thesis deals with Leoš Janáček's Lachian Dances and their didactic application in music education. The theoretical part examines the Lachian Dances through the didactic analysis and describes the speech of composer and its connection with folk art. The practical part of the diploma thesis is focused on the didactic interpretation of the Lachian Dances. The pupils in the age of middle childhood, specifically 3rd and 4th graders at the Vrchlického primary school in Liberec, were selected as a sample. The results of the thesis are teaching materials that serves as a source of inspiration for students of primary education and current teachers of music education. KEYWORDS Leos Janacek, The Lachian Dances, speech melody theory, the didactic interpretation, the age of middle childhood, teaching materials, music education

This thesis examines from theatrical point of view the Janáčkian dramaturgy in German speaking countries within the context of local reception of Czech and Slovak opera and with special consideration of the Bavarian State Opera in Munich. The main referential base of research is German daily critique through which the Author presents an overview of more important productions of Leoš Janáček's operas. The Author then discusses the historical context of these productions, the stage history, German Janáčkian programme and roots of modern-day social-critical expressive staging of Janáček in German speaking area as compared to the more lyrical realistic Czech approach (to simplify). The discussed period is concluded with the year 1998.