The first part of the dissertation examines all of the orchestrated versions of Dvořák's Cello Concerto in A major.The analysis is based on graphs, which show the cuts in every version. The work of Günter Raphael and Jarmil Burghauser's version are looked at in close detail. The second part of the dissertation analyses tempo changes in all of the Czech recordings of the concerto. Original graphs show the differences between tempo marks in the autograph version and in recordings.

The main goal of this thesis the introductiom to the czech romantic piano literature. The first part contains a brief introduction to the origins and analysis from the musical perspective. In chapter two I concentrate on the technical and phonic parameters of the work. Apart from Dvorak's solo piano excerpts, one can take notice of excerpts from the revided version done by Vilem Kurz - and confrontation of both. There are 4 groups in which the main differences between the two versions are divided. The last chapter contains a summary of performance experience by interviews with famous pianists - Ivan Klansky, Martin Kasik and Ivo Kahanek.

This thesis focuses on the interpretation of harpsichord sonatas written by Josef Antonín Štěpán / Joseph Anton Steffan (1726–1797), who was an important figure in Viennese musical life of the eighteenth century. His works influenced a large number of his contemporaries, including Joseph Haydn, Jan Křtitel Vaňhal, Leopold Koželuh, and Wolfgang Amadeus Mozart. His compositional procedures departed from period conventions: a number of his sonatas and concertos for keyboard instruments begin with a slow introduction to an opening fast movement; he experimented with one-movement forms (sonatas, capriccios); in 1778 he published the very first collection of Germans songs with piano accompaniment in Vienna. The foundation for his music is his detailed knowledge of counterpoint and thoroughbass practice, and he draws on influences from Italian music, Czech folk music, the Gallant style and the Sensitive style. In his late works, he even arrives at a Pre-Romantic style. It is incomprehensible that he has nearly been forgotten in spite of his fame in his own day. In an attachement there is enclosed a critical edition of Steffan´s sonatas, PicŠ. 19–21 issued in ARTA (April 2017). Key words: Joseph Anton Steffan / Josef Antonín Štěpán Sonatas for keyboard instruments Sonata form Interpretation Chamber music with harpsichord Musical archive of the Arcibishop´s castle in Kremsier (the Czech Republic)

The subject of the diploma thesis is syntactical analysis of the collection of sermons Vejtažní naučení (1740) by Antonín Koniáš. The aim of the thesis is the research of grammatical and lexical means used in this text to express relations in compound sentences. The thesis is divided into a theoretical and a practical part. In the theoretical part we give information about Koniáš´s life and work, further we characterize the basic syntactical phenomena and define the baroque compound sentence. In the practical part we deal with individual paratactic relations, especially we have the frequency of coordinating means in view. Subsequently we summarize the results of our work, we assess the found out coordinating means and compare them with those in the contemporary Czech language.

In my diplomas´s thesis I deal with a violin creation of Benda family. In the first charter I discuss about the work of Czech musicians and composers abroad - in Germany,Italy, Poland and Russia. The second charter is called " Frantisek Benda". This chapter testifies abou life and work of this man.Then I desribe the life and life of Antonín Benda, František´s brother.The fifth chapter deals with the important moments in the life of the brothers Josef and Jan Jiří Benda and I also remind their violin making. After a brief introduction to the family Benda I approache to the crucial part of that from the sixth chapter I analyze the characteristics of musical expression siblings Benda. First, I pursue four violin sonatas of František Benda. Then I analyze two sonatas of Frantisek´s brother, Jiří Antonín Benda. The eight chapter deals with the Violin Concerto inG major, which was composed by Jan Jiří Benda. Characteristic of musical speech by František, Jiří Antonín and Jan Jiří Benda is the subjectof the last charter of this work. In the conclusion I argue that musical life in this country, the Czech Republic, or currently not forget the musical legacy Benda family.

The diploma thesis consists of two main parts {--} theoretical and practical. The theoretical part deals with a character of collected tales with regard to a region and explains the meaning of the word ``legend{\crqq}. Furthermore it summrizes briefly what is an illustration and targets four illustrators of Old Czech Legends by Alois Jirásek (Věnceslav Černý, Antonín Procházka, Mikoláš Aleš and Jiří Trnka). At the conclusion of this part the illustration processing itself is inscribed. Creating a set of illustrations {--} the practical part {--} is the produce of the thesis. A supplement, that contains the set of collected legends, is added to the thesis.

Cílem této diplomové práce je přispět k výzkumu mešní tvorby pražského skladatele Antonína Reichenauera. První dvě kapitoly zahrnují popis aktuálního stavu bádání, úvahu nad světci v dedikacích Reichenauerových mší a popis tří pražských rukopisů a jejich konkordančních opisů. Součástí úvodních kapitol je též soupis mší Antonína Reichenauera. Třetí kapitola pojednává o typu koncertantní mše a o jejích konkrétních podobách ve významných evropských hudebních centrech (vznik a vývoj druhu v Itálii a jeho podoba ve Vídni, Drážďanech a Praze). Poslední kapitola je stylovou analýzou jednotlivých složek Reichenauerova mešního kompozičního stylu. Vybrané Reichenauerovy mše jsou konfrontovány se skladbami benátských, neapolských, vídeňských a drážďanských autorů, celá analýza je pokusem o vymezení některých individuálních/společných rysů Reichenauerovy tvorby a tvorby jeho současníků působících ve zmíněných centrech. Klíčová slova: Antonín Reichenauer, Praha, rukopis, pramen, mše, 18. století Abstract The goal of this diploma thesis is to contribute to the Antonín Reichenauer's mass compositions research. The first two chapters deal with current state of research, saints in Reichenauer's mass compositions dedications and description of three Prague musical sources and its concordance manuscripts. These...

Spirituality of Psalms in the Context of Antonín Dvořák's Biblical Songs. The aim of this work is an introduction with general pieces of informations about psalms, about their primary theological scope, about spiritual world and spiritual aspects, because they in fact include the human life in all circumstances. Fundamental commission is to introduce musical work of the czech composer Antonín Dvořák (1841─1904) Biblical Songs. This work includes ten songs. Lyrics of these songs elected Antonín Dvořák himself from the Book of Psalms. This book is a part of the Old Testament. The psalms are not only a prayer of a person. The psalms are a perspective and a dialogue of person and God and the psalms make a relationship with God. Subject matter of this work will be to find a communication between a person and God and the reception of the words of God too. Very important in this case is the state of mind in thoughts and in emotional feelings. The emotional feelings and thoughts are a part of the composer's aith. The composer receives the faith from God and the musical work of art, Biblical Songs, is the answer to God. Keywords Psalm, prayer, spiritual formation, Biblical Songs, Antonín Dvořák, musicology

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The thesis deals with selected baroque paintings that hang in the cloister of the Cistercians monastery and in the monastery's church of the Virgin Mary's Ascension in Osek. It aspires on approaching the paintings of less known baroque artists of Václav Antonín Lihm, Gerard Angelmayer and Benedikt Kern. It also aspires on setting their artistic production into the situation at the monastery. The first part describes the monastery in Osek as an important clerical centre that has ineffaceably inscribed itself into the landscape of Northern Bohemia as well as into the history of Czech Art by its baroque reconstruction. The thesis then introduces individual painters in their relation to the monastery as well as their other production. What follows is the description of respective paintings from the church and the cloister. Particular attention is paid to the scenes from the life of Saint Bernard of Clairvaux and to other saints of Cistercian Order. Graphic artworks that may be used for paintings are also included. Identified findings are summarised at the end of the thesis. Keywords Benedikt Kern, Gerard Angermayer, Václav Antonín Lihm, monastery in Osek