The aim of the thesis is to map the development of a musical as a musical genre, on the basis of historical and social background. Within the frame of this context, the work attempts to follow the variable function of the choral parts of a musical. The goal of the thesis is to demonstrate the development of the interpretation of musical choirs, using particular choir examples. These theoretical bases will lead in to concrete recommendation for the work of a musical choirmaster. The second part focuses on the role of breath in the interpreter's preparation for the performance.

As choir masters, many organists have the responsibility of hiring and working with paid singers as well as a dedicated group of volunteer singers ranging in experience from novice to advanced. The similarities of the human voice to the pipe-organ are numerous. Using these similarities and scientific analysis of the two instruments, organists can familiarize themselves with the tuning system of the human voice. Like the pipe organ, the human voice is capable of wide variety of sounds, qualities, textures, pitches and levels of volume. Unlike an organ pipe, the voice is not a fixed resonator. The voice is the most flexible of all musical instruments. Instructing an ensemble of singers to shape their sound simultaneously is the beginning of “tuning your choral pipes.” It will be important to establish terminology with your singers in order to successfully communicate with them despite their varying levels of ability and pronunciation differences. Becoming familiar with the mechanics of the voice and an alphabet of pure vowel sounds can help organist-choir masters achieve a greater degree of success when working with singers. The stops, pipes and expression pedal of the human voice are defined by the laryngeal muscles as they relate to registration, the vocal tract shape as defined by the vowel, and the amount of volume created by the air pressure. This guide for organists covers these topics and contains exercises for the reader to apply during choral rehearsals.

The diploma thesis is focused on dealing with young learners in children choirs, it targets on problems that can appear within the work with choirs and how to solve these problems. The first chapter offers historical overview for reader's idea of what did the chorister look like from Middle Ages to present. I deal with the causes why children don't sing in the second part nowadays. The third chapter is aimed at chorister of České Budějovice. The inteviews with choirmasters of the most famous children choir of this city are added to this part. The fourth, wide chapter is dedicated to the work in choir and is divided into couple of parts, which bears on the contents of the thesis. I allude to necessities the child has to pass if wants to devote to chorister, and I addict on problems connected with chorister. I analyse the factors which from my point of view affects basic and other activities of choirs in the final part.

The submitted diploma work deals with the history of children's choirs in Central Bohemia since 1989 until the present days. In some cases it takes us even further into history. In the theoretical part, it focuses on the history of children's choirs, their member composition, age distribution and the work of choirmasters. The exploratory part covers the whole area of the Central Bohemia region according to its districts. It gives information about children's choirs, their numbers at different schools, their grouping set on the basis of the types of schools where they function. There is a questionnaire attached to the diploma work in which the choirmasters give information concerning history and current situation in their choirs. The submitted questions are then analysed. The research data are subsequently presented both in the written and graphic forms and their interpretation is included into the theoretical part of the diploma work. KEYWORDS children's choir, choirmaster, history, repertoir, music

This diploma thesis is addressing the "National Performance of the Children's Choirs" in former Czechoslovakia and Czech Republic. It aims to map its beginnings in the early 1990s and follows its subsequent course and changes, primarily from an administrative viewpoint. Special chapters focus on propositions and repertoire of the attending choirs; index of the repertoire is attached as a supplement. Key words children's choirs, parade, festival, choirmaster, children's choir compositions

v anglickém jazyce The work focuses on the spectrum of choirmaster activities. Its main goal is to describe and characterize the way the choirmaster works with the choir, in all branches and areas of choral singing. Another goal is to compare the work of a choirmaster in different types of choirs - children's, women's, mixed; in the case of adult churches, the differences between amateur and professional work are then affected. The theoretical part deals with the organizational structure of choirs in the Czech Republic, the content of the study plan of the field of choral conducting at the Faculty of Education, Charles University, what the student should go through in their studies, what the student of choral subjects should learn and what knowledge and skills should be available in his choirmaster practice. It describes in detail conducting, singing and instrumental skills, the gradual development of the student from the role of a singer to the role of assistant choirmaster in choral practice and mastering the methodology of rehearsing compositions of various types and genres. In addition to leading the choir, the work focuses on knowledge and skills, both in the field of conducting and singing. It also describes how important the choir practice is, how one feels in the position of conductor /...

This diploma thesis is based on the analysis of primary and secondary sources, including authentic memories of living witnesses. It focuses on important personalities of the musical life in the border region around the former Sudetenland, specifically on the life and work of selected composers, musicologists, teachers, choir masters , conductors, and active musicians working in the region below the Jestřebí Mountains - the area between Náchod and Trutnov, that is Červený Kostelec, Rtyně v Podkrkonoší, Malé Svatoňovice, Úpice, and Trutnov. These are personalities who contributed not only to the development of regional music, but also to the education of new talents, between the years of 1940 and 1980 of the 20th century (however, the work with its biographical character presents some overlaps to other eras, such as the pre-war era, the times of war, or the post-revolutionary era). In the presented text, individual biographies of selected musically-active individuals are reconstructed, during whose often difficult lives significant historical events (including social repressions) took place. There was often mutual cooperation between the personalities discussed in this work, and they often influenced each other. The profiles of the personalities are arranged alphabetically. KEYWORDS Educator,...

This master thesis introduces Jiří Pilát (4. 4. 1921 - 7. 6. 2007), a native of Posázaví. He had been concerned with music on a non-professional level all his life, especially with liturgical music. In order to carry on his interest he created a rich archive, mostly by searching and transcribing the score material. The work aims to show his life and work with regard to both his lifelong musical focus and local activity, and his conceivable influence on the broader cultural awareness. It is comprised from five main chapters: the life of Jiří Pilát, his heritage, a choir and an orchestra in Poříčí nad Sázavou, efforts to re- reveal the work of Jan Dismas Zelenka and draw attention to it; and the musical legacy of Jiří Pilát. Keywords: Jiří Pilát, choirmaster, conductor, Jan Dismas Zelenka, Poříčí nad Sázavou, Louňovice pod Blaníkem, liturgical music

Bien que le répertoire musical liturgique provenant des missions fondées par la Compagnie de Jésus à partir de la deuxième moitié du XVIIème siècle parmi les Indiens Moxos, dans le nord-est de l’actuel État Plurinational de Bolivie, soit considéré comme une grande richesse du patrimoine de la musique baroque latino-américaine, exaltant l’entreprise évangélisatrice, l’implication des indigènes des réductions jésuites dans cette production, ainsi que l’interprétation et la valeur mystique et sociale qu’ils octroyèrent à la musique à partir de l’expulsion de la compagnie de Jésus des territoires espagnols en 1767 et jusqu’à maintenant, restaient à découvrir et analyser. La musique est pour les indigènes Moxos une représentation intrinsèque de la foi et de leur société. L’attachement à une incessante pratique musicale de la part des descendants des Indiens des missions, ainsi que la richesse des traditions orales superposées à l’art rituel moxéen, qui consiste à copier des documents musicaux et religieux, se révèlent être des expressions rituelles et politiques qui permettent d’envisager une historiographie musicale des Moxos à partir du témoignage indigène. Les milliers de copies de partitions et de cahiers de catéchisme nés de la plume des copistes Indiens sont préservés et utilisés comme des reliques qui prouvent l’appartenance indigène à une culture des missions, et l’empreinte de la pédagogie jésuite de la Ratio studiorum. Ils sont le fruit d’une véritable inculturation et constituent les piliers de la construction identitaire des Indiens Moxos. Les maîtres de chapelle, même éloignés des anciennes missions et de la société bolivienne, ont perpétué cet art à travers la religiosité populaire. Ils furent les instigateurs d’un mouvement messianique et millénariste qui cherchait à trouver une terre promise, la « Loma Santa », quelque part dans l’Amazonie bolivienne, à laquelle on ne pouvait avoir accès que par la préservation stricte de la musique héritée des missions jésuites. / Although the liturgical repertoire inherited from the missions founded by the Society of Jesus from the second half of the seventeenth century onwards among the Moxos Indians, in the northeast of the current Plurinational State of Bolivia, is considered a rich heritage of Latin American baroque music, exalting the evangelizing enterprise, the involvement of the natives from Jesuit reductions in this production, as well as the interpretation and mystical and social value they gave to music from the expulsion of the Society of Jesus from the Spanish territories in 1767 to the present day, remained to be discovered and analyzed.Music, for the Moxos Indians, is an intrinsic representation of their faith and society. The commitment of these descendants of mission Indians to a relentless musical practice, as well as the wealth of oral traditions superposed on moxean ritual art, which involves copying music and religious documents, prove to be ritual and political expressions that allow us to envision the creation of a musical historiography of the Moxos based on the natives’ testimony.The thousands of copies made of scores and catechism books by Indian scribes are preserved and used as relics which prove the natives’ sense of belonging to a culture of missions, and the influence of the Jesuit pedagogy of the Ratio studiorum. They are the fruit of a genuine inculturation and the pillars of the Moxos Indians’ sense of identity.Choirmasters perpetuated that art through popular religiosity, even away from the old missions and Bolivian society. They were the instigators of a messianic and millenaristic movement that sought to find a promised land, the "Loma Santa", somewhere in the Bolivian Amazon, which could be accessed by strict preservation of the music inherited from the Jesuit missions. Keywords: Moxos, Jesuit missions, music, choirmaster, copyists, Loma Santa, Jesuits.