Thesis (M.M.)--Ohio University, June, 2008. / Title from PDF t.p. Abstract only has been uploaded to OhioLINK. Includes bibliographical references (leaves 77-78)

Thesis (D.M.A.)--University of Maryland, College Park, 2006. / Includes bibliographical references and discography (leaves 78-81).

abstract: Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience. / Dissertation/Thesis / D.M.A. Music 2011

The aim of this work is to briefly and sententiously describe and map the production of one act operas by Bohuslav Martinů.

The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.

The topic of the present thesis is Suite Concertante for violin and orchestra composed by Bohuslav Martinů. I have attempted an inguiry into the eventful life of Bohuslav Martinů ( 1 st chaper), into the background and details of origin of the individual versions of the piece ( 2 nd chapter) and into other pieces composed by Martinů for violin ( violin concertos, sonatas, other pieces for violin and piano and lost works )(4 th chapter),.I have also analyzed the structure of Suite Concertante for violin and orchestra and compared the two versions ( 3rd chapter).I have used my own interpretation of the second version during the graduation concert on February 7 th 2015. I am convinced that studying materials regarding Bohuslav Martinů as well as performing of the second version during the graduation concert will be a source of inspiration for my further interpretations of Suite Concertante and other works by Martinů.

The work is examined in detail the symphonies of Bohuslav Martinu. It contains a wide range of musical demonstrations. It also seeks to introduce closer the composer and the atmosphere of the time when symphonies were composed.

Tereza Jůzová's thesis Georg Trakl's Poetry in Czech Translations tries to discover which specific expression this Austrian poet takes in three Czech versions created by Bohuslav Reynek (1917, 1924), Ludvík Kundera (1965) and Radek Malý (2005) - three translators belonging to three different generations. The first chapter is devoted to Trakl and his work, ranked in the social and literary context. The second chapter presents the translators and their achievements, summarizes the period reception, and gives a brief overview of the poet's influence on original Czech literature. The focus of the thesis is the third chapter - translation analysis of six selected poems transposed to Czech. It is theoretically based on the translation shifts theory of Anton Popovič and on the method of translation analysis developed by Jiří Levý. It turns out that each of the original translators handled the original in their own way and accentuated different aspects of Trakl's work. Reynek colours the words by kind and gentle expression and his translation is the most peculiar. Kundera and Malý approached Trakl's plain style, Kundera, however, does not hesitate to underline some poetic passages. Malý intentionally reproduces the frequent ambiguity of the poet's formulations, which his predecessors insufficiently took...

Thesis (D.M.A.)--University of Rochester, 1972. / Analysis of piano quintets by Anton Webern, Louis Vierne, Edward Elgar, Bohuslav Martinů, Nikolay Medtner, and Ross Lee Finney. Vita. Bibliography: leaves [269-272]. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4819

The aim of this paper "BOHUSLAV MARTINŮ - COMPOSER - VIOLINIST" is to explore the violinconcertos and chamber music violin parts, composed by this 20th century genius. His symphonies, operas, chorals and dramatic compositions are merely mentioned. Their list is not complete, as their analysis is not the aim of this paper. Detailed attention is given to Martinů´s violin compositions, how these relate chronologically to events in his life and correspond with the composer´s biografy. Exploring Martinů´s violin compositions from the composer - violinist's point of view constitutes a rewarding perspective for examining Martinů´s legacy. Purposively chosen works are analysed, with regards to their individual components and samples of scores. The violin compositions are listed in Chapter 9, subsection 9.1 on Page 130, enabling an easier search of titles. This work provides a deeper insight into a specific section of the works of Bohuslav Martinů, offering researchers, professional musicians and lay readers alike some important information concerning one part of Martinů´s extensive work.