SANTRAUKA Magistro darbe analizuojama asmens, duodančio parodymus apie savo paties galimai padarytą nusikalstamą veiką, statuso problematika. 2007 m. rugsėjo 1 d. Lietuvos baudžiamojo proceso kodekse įsigaliojo pataisa, numatanti galimybę ikiteisminio tyrimo stadijoje asmenį, kuris gali duoti parodymus apie savo paties galimai padarytą nusikalstamą veiką (dar kitaip - specialųjį liudytoją), jo sutikimu apklausti kaip liudytoją. Iki to laiko Lietuvos baudžiamojo persekiojimo institucijų pareigūnų praktikoje pasitaikydavo atvejų, kada duomenų, jog nusikalstamą veiką galėjo padaryti konkretus asmuo yra, tačiau šių duomenų nėra pakankamai tam, kad šiam asmeniui būtų galima surašyti pranešimą apie įtarimą. Be to, procesą vilkino asmenų, kurie pagal tarptautinės teisės normas turėjo imunitetą nuo baudžiamosios jurisdikcijos bei asmenų, dėl kurių patraukimo baudžiamojon atsakomybėn turėjo būti gautas kompetentingos institucijos leidimas, kai toks leidimas buvo būtinas pagal įstatymus (pvz.: Seimo narių, teisėjų ir t. t.), apklausa. Magistro darbą sudaro teorinė ir praktinė dalys. Teorinėje dalyje didelis dėmesys skiriamas specialaus liudytojo sampratai, tačiau ypatingą dėmesį skiriant teorinių ir teisinio reguliavimo problemų analizei. Atskirą magistro darbo dalį taip pat sudaro ir specialaus liudytojo statuso probleminių klausimų analizė. Praktinėje dalyje parodoma, kaip šio instituto taikymas pasireiškia baudžiamojo persekiojimo institucijų pareigūnų praktikoje, kas iki šio laiko... [toliau žr. visą tekstą] / SUMMARY The Master’s Thesis analyzes the problems of the status of person who testifies about the criminal act possibly made by the person himself/herself. The amendment of the Code of Criminal Procedure of the Republic of Lithuania came into force on the 1st of September 2007. The amendment provides the possibility to interrogate as a witness (after obtaining his/her consent) the person (also called a special witness) who can possibly testify about his/her own criminal act. Theretofore, there were some cases in practice of the officials of Lithuanian institutions of prosecution that the institutions had data that particular person could have made a criminal act but data were not sufficient in order to make notice on suspicion. Furthermore, the procedure delay was caused by interrogation of persons having immunity against criminal jurisdiction under the standards of international law: Permission of competent institution should have been obtained for prosecution of such persons, when such permission was obligatory under the laws (for example members of Seimas, court judges, etc.). The Master’s Thesis consists of two parts: theoretical and practical. The theoretical part pays the considerable attention on the conception of special witness and analyzes the theoretical problems and the problems legal regulation. Analysis of the issues of status of the special witness is provided in a separate part of the Master Thesis. The practical part of the Thesis reveals how application of... [to full text]

Primary focus of the dissertation is comparison of loudspeaker and headphone reproduction and its influence on the mix balance of classical music recordings. A listening test, which represents an essential part of the thesis, was performed on a test group of sound engineers who prepared mixes of selected recordings using both loudspea-kers and headphones. An analysis of the resulting mixes was performed to find out if any systematic changes could be detected between headphone and loudspeaker mixes. The results disclosed a systematic change in preference of reverberation. Individual approaches of the sound engineers are documented by an extensive graphical section of the thesis. Level of stability of the individual models has been examined using repeated testing on selected participants. Selected headphone and loudspeaker mixes have been further evaluated by a listening group in a second listening test. Differences between the mixes were judged using both loudspeakers and headphones. Answers of the participants were analysed to see if there was an increased preference of headphone mixes when judged using headphones and vice versa. The results didn't show significant preference changes based on type of reproduction. The selected mixes weren't found to be "more optimal" when listened to on their respective reproduction device, nor could they be identified based on the subjective preference test. A special part is devoted to evaluation of an internet-based survey featuring a statistical documentation of loudspeaker and headphone usage in todays music recording industry. Special look has been taken at the group of respondents who indicated classical music as primary music genre of their profession. Another theoretical part of the thesis covers the artistic and technical approach of sound engineers to classical music sound image creation, including commonly used technical resources and stylization methods.

The following thesis is working on the string quartets by Bohuslav Martinů. The Autor focuses on ?Zero?, The First ?French?, 2nd, 4th and 5th String quartet and on Concerto for string quartet with orchestra. In the thesis is a comprehensive analysis, but mainly focused on working with autograph score, comparing with printed score, and partly with recordings. Also is focused on the interpretative notes.

This thesis deals with using general methodical principles while teaching to play the clarinet and to sing particular compositions – the song cycle by Louis Spohr “Sechs deustsche Lieder fur eine Singstimme, Klarinette und Klavier op. 103“ and the song by Franz Schubert “Der Hirt auf dem Felsen D (965)“. The work is divided into five chapters. The first chapter briefly mentions the historical background of birth of the compositions with a special regard to the changes in the musical life in the 19th century and the personal lives of both composers. The second chapter, Personality of the performer, observes important aspects which no performer should ever forget about while studying a chamber piece of work, such as mental preparation, the issue of memory, but also the right choice of repertoire with respect to the characteristics of the soprano voice, for which both compositions were written. Other aspects include posture on the stage, breath support, intonation, sound consistence and making use of all the aspects while performing the song by F. Schubert as well as the song cycle by L. Spohr. Other two chapters are dedicated to both compositions, the third being focused on L. Spohr´s “Sechs deustsche Lieder fur eine Singstimme, Klarinette und Klavier op. 103“ and the fourth focusing on Franz Schubert´s “Der Hirt auf dem Felsen D (965)“. The circumstan-ces of birth of both compositions are described, loose translation of the texts is provided as well as performer´s experience with the particular songs. The last (fifth) chapter, Historical faithfulness of interpretation, is a short contemplation over the fact to what extent a performer is able to depict the original idea of the author by means of contemporary technical possibilities. The thesis describes personal opinions, experience, feelings and problems which its writer encountered while studying the clarinet and singing parts of the compositions.

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.

The main goal of this thesis is to clarify the situation of the Czech contemporary dance platform in the nineteen-nineties and its transformation, on the basis of four case studies of concrete personalities and their dance works: Eva Černá a Karel Vaněk (Little blue nothing), Lenka Flory (..and where is Mary?), Jan Kodet (Jade) and Petr Tyc (The Fall of The House of Usher). The emphasis is put on catching the different qualities of movement, searching for the origins of their source of inspiration. In order to understand the deeper context of this period it was necessary to briefly describe the development of "scénický" ("scenic") dance before 1989. This matter is put into the larger context of the change in aesthetics of the corporeality since the nineteen-sixties and the formation of the concept of contemporary dance with delimitation of its content.

Concertante principle is one of the compositional technic that goes along in the western music for more than four hundred years. Basis for this historic techniques are used until now. For researcher arises the question: Exists the concertante principle in the newer musical literature, or merely is a relic of the distant past? In the last few decades has been one of the strongest personalities, who dealt with the using of the concertante principle, the Russian-German composer Alfred Schnittke, who wrote several dozen concertante works. In music history after the Second World War, we can hardly find any another person that would be dealt with at length this genre. The aim of this thesis is to examine in detail, how the composer treated with this technique if used only historically given compositional techniques, or innovatively replaced. As a method of investigation was chosen analysis of large amounts of scores, on which there is evidence Schnittke use and targeted using of concertante principle.

This thesis deals with the violin works of Aram Khachaturian. My thesis is divided into six chapters. In the first chapter I present a brief biography and basic overview of his works. The next chapter deals with the Violin Concerto. In the following chapter I compare different interpretations of Violin Concerto. In the last two chapters I write concisely about other violin works of Khachaturian – Sonata for Violin and Piano, Dance for Violin and Piano, Song – Poem, Nocturno and Rhapsody – Concerto for Violin and Orchestra.

In this work I wanted to focus on the personality of the Czech composer Bedřich Smetana and analyze his chamber music compositions. I find these remarkable works to be extremely important for the world’s chamber music repertoire.

This master thesis is focused on analyzing the development of cello concerts written by Russian composer, respected cellist and teacher Karl Julievich Davydov. In the first place, the analysis is about the upward development of the genre – from virtuosic type of concerts to virtuosic-symphonic type of cello concerts. This thesis is divided into three main chapters. The first chapter in the three subsections is focused on typing and characterization of string concerts. The second chapter in the six subsections devoted to the context of Western European traditions and peculiarities of the development of cello art in Russia. The third chapter in two separate sections and four smaller subsections focus on the personality of Karl Julievich Davydov, periodization of his work and analysis of his cello concerts.