The diploma thesis analyses the beginnings of hip hop in the Czech Republic in the context of domestic music magazines. It aims to examine the media depiction of this cultural phenomenon in its entirety with an emphasis on the musical genre of rap. Through qualitative content analysis of text data, it observes specific periodicals in two time periods. The first of them was in the years 1989 to 1999, when the first attempts to transfer the originally American genre to the domestic environment began to appear in the country. The second analysed stage is limited to the years 2000 and 2002, in which two key albums were released, namely Repertoár by the group PSH and My 3 by Indy & Wich. The magazines Melodie, Rock & Pop, Report, Tripmag, Ultramix and Bbarák were used in the qualitative content analysis. The thesis examines the first printed mentions of Czech hip hop, but also focuses on reviews, interviews and other extensive journalistic genres, especially at a later stage. Qualitative content analysis of textual data is complemented by semi-structured interviews with leading music publicists, but also artists who have contributed to the establishment of rap in terms of Czech music. The research method of oral history was also used and made it possible to obtain information with witnesses that have...

The thesis is a comparative case study, that applies the typology of deployments of history of S. A. Metzger and R. J. Paxton on the World War I video games Battlefield 1 and Valiant Hearts. The objective of the thesis is to compare the studied games and to evaluate the usefulness and limitations of the applied typology as an analytical tool. A. Chapman's analytical framework for the formal analysis of historical video games is used as a methodological guideline. The "texts" of the video games serve as the main data source, complemented by the use of Let's Play videos, that allow a deeper level of analysis in certain areas and offer a glimpse of how historical representations and narratives are being consumed. Results show that both games present a rich and critical view of the World War I history and that they offer space for representation of marginalized groups. The game Valiant Hearts, unlike the game Battlefield 1, has a strong anti-war message and tells its story from a transnational perspective, emphasizing the Franco-German reconciliation. The game Battlefield 1 celebrates the combat heroism of the soldiers of individual nations and avoids completely the portrayal of civilians and the impact of the war on their lives. The World War I in this game is likened to the Second World War and it...

Diploma thesis Rap Scene as a Public Sphere: How Political Criticism Appears in Czech Rap and How Its Consequences in Public Relations presents Czech rap subculture in the context of traditional and modern approaches to cultural studies. Work deals with Czech rap as a public sphere that has the opportunity to speak to broad fan bases through its content, to establish public discourse and to shape the way of listeners' thinking about public affairs. The diploma thesis focuses on the politicization of rap and politically motivated texts by the authors of the Czech rap scene. The diploma thesis includes content analyzes of selected songs of the Czech rap underground and mainstream scene, which are interpreted with context to approaches to the study of subcultures and pop culture. The research includes in-depth interviews with Czech musicians and analyzes of other media interviews of some authors. The primary goal of the research is to find out the motivation and demotivation of Czech rap artists to enter into a public debate on political issues by their songs. The thesis reveals how Czech rappers understand their own position within the system of the majority society and answers questions about the current form of Czech and global rap music production.

Dans le cadre de ma maîtrise, et plus généralement dans ma pratique musicale, le mixage et le matriçage sont les deux techniques d’écriture qui ont principalement retenu mon attention pour la composition de pièces électroacoustiques. La composition de ces oeuvres a servi de canevas de travail pour faire une recherche pratique sur mon utilisation de ces deux techniques, recherche menée en parallèle à des activités de documentation sur leur implémentation en musique acousmatique. Celles-ci ont révélé qu’un nombre très restreint de compositeurs et de pédagogues se sont aventurés à traiter de ce sujet, nommément parce qu’il n’existe aucune vision prescrite ou de norme sur la mise en oeuvre de ces techniques en acousmatique. La plupart des sources d’information substantielles sur le sujet du mixage et du matriçage proviennent du monde de la production audio commerciale. Ce faisant, je me suis inspiré des moyens de production usités pour la création sonore en film et en musique populaire. En démontrant comment ces recherches ont influencé mon propre travail de composition électroacoustique, je souhaite pallier un manque d’information sur les sujets du mixage et du matriçage en acousmatique et offrir une perspective originale aux compositeurs qui s’intéressent à ces pratiques. / Over the course of my Masters and in my musical practice at large, mixing and mastering have been the two most prominent compositional techniques featured in my electroacoustic pieces. Composing these electroacoustic pieces served as the framework for a practical research on my use of mixing and mastering, a project which also included documentational research on their implementation in acousmatic music. The research revealed that only a small number of composers and pedagogues had written about this topic, mostly because there is no prescribed vision or standard regarding the implementation of these techniques in acousmatic. Most of the substantial sources of information regarding mixing and mastering can be found in the realm of commercial audio production. Thus, I was inspired by the means of production used for the sound design in movies and pop music. By showing how this research has inspired my own electroacoustic compositions, I wish to fill an informational void on the subject of mixing and mastering in acousmatic music and to offer a fresh perspective to composers who are interested in these practices.

Auf der Videoplattform YouTube finden sich hunderte sogenannter Shreds. Das sind Videos, die das Bildmaterial präexistenter Musikperformances mit einer neuen Tonspur kombinieren, und zwar mit humoristischer Intention. Hier wird erstmals die Geschichte der Shreds umfangreich nachgezeichnet und ihre stilistischen Ausprägungen untersucht. / The video platform YouTube hosts hundreds of so-called shreds: videos that combine footage of preexisting musical performances with a new soundtrack, always with a humoristic intention. The present study examines the history of shreds and their stylistic devices for the first time ever.

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