This thesis presents a complex of Janáček's opera The Makropulos Affair, covering its origin (and the genesis of opera in general), represents personality of Leoš Janáček from different perspectives and offers a didactic treatment of this theme. The work includes two layers - a theoretical and didactic. If we look at the text from a theoretical perspective, then here are about Janáček operas in terms of ideas, editing, production and inspiration of women. Further information on the general features of the libretto, practice, the role of stage manager, Janáček personality, his creative period, music and speech input field of prose to opera. Didactic point of view we see in the arrangement of this work and in quantities of information. The teacher can use the work as the basis for teaching, including the last chapter, which is dedicated only to the practical challenges and ideas. This thesis should help teachers, who want to focus on the opera or the personality of Leoš Janáček in the classroom.

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Detta konstnärliga examensarbete berör Leoš Janáčeks pianoverk Im Nebel skrivet år 1912. Syftet var att som pianist tolka musiken på ett sätt som överensstämmer med min egen uppfattning av musiken efter att ha sett verket i olika ljus. Verket har närmats metodiskt genom ett noggrant musikaliskt analyserande, en flitig instudering och kontinuerliga uppspel i olika sammanhang. Detta parallellt med en introspektiv process i form av ett loggboksskrivande. Undersökningens resultat påvisar att den musikaliska analysen var viktig för att få en djupare förståelse av verket. Inblicken i Janáčeks unika tonspråk parallellt med kunskap om tonsättarens liv gav nya fördjupade tolkningsmöjligheter. Genom att sträva efter att hitta de olika klangfärgerna i musiken och genom att framföra verket med en interpretation som lutar mer åt det poetiska hållet har jag slutligen fått en djupare förståelse för verket. / <p>Leoš Janáčeks,Im Nebel für klavier 1912.</p><p>Ilektra Oikonomi, piano</p><p>Ljudinspelning ifrån pianoafton i Nathan Milsteinsalen 19/4/23</p>

We compare the features of drama and libretto, based on the text The Makropulos Affair by Karel Čapek (drama) and Leoš Janáček (libretto). We would like to show not only common dramatic features, but also the specific librettist features, which Janáček used by transformation Čapek's drama into opera libretto. We demonstrated, that dramatic features are in libretto at the level of structure and the specific librettist features are at the level of story, single figures and its constellation. The analysis confirmed the preliminary hypotheses.

Works of Leoš Janáček were always very close to me. I grew up listening to them , when I was a child I listened to his operas many times in the Janáček Theatre, where my father worked for years. I was therefore very excited to delve myself into the work of the Glagolitic Mass, and I am also sure that it is very good material to write a thesis. In the main part of this work I´m going to focus on comparing different interpretive approaches, because we can interpret Janáček´sworks in many different ways and it is hard to determine which is the right one. Me as a native of Brno, i inclined to the "Brno" tradition of interpreting master´s works. I´m very curious about all the different interpretations, above all Sir Charles Mackerras, who is credited with promoting the Janáček music in the world.

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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.

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