This thesis examines the influence of marketing communication on music industry with focus on electronic dance music. In theoretical part are processed basic terms defining marketing communication. Consequently is described development of electronic dance music from seventies. The main objective of this thesis is define important marketing tools in allotted age group and confirm knowledge of this area of music industry. The practical part is focused on the research of popularity, target group determination and also evaluates interview with specialists and artists. Base on the research results from questionnaires and interview the thesis also proposes own marketing campaign of unknown artist.

The aim of this work is to map the current development on the Prague cultural scene set in the industrial spaces, it captures in a comprehensive way some common tendencies in the atypical industrial environment. Although there are marginally mentioned various cultural activities, work particularly focuses on the frequent presentation of electronic dance music in abandoned buildings. The work describes the historical development of industrial heritage on the territory of Prague, what kind of cultural businesses in this environment are currently taking part, how do they differ and what do they depend on. After reading this thesis the reader gains insight into the trends currently prevailing on the Prague music scene out of the traditional club environment.

'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.

This diploma thesis discusses options of using Wallachian musical folklore in the education for the 2nd grade class at an elementary school. The first part of the thesis deals with the theoretic information about the Wallachian region in general. It includes facts about folklore, delineation of boundaries, the origin of this region as well as typical costumes and folk architecture. The author focuses on distinctive folk songs, typical musical instruments and dances typical for the Wallachian region. The second part introduces folk collectors, important people and current folk events in this region. The research part examines the relationship and knowledge of the musical folklore and the pupils of the 2nd grade. The author uses a questionnaire method of research. After that, the practical part of this thesis offers a suggestion for Wallachian folklore to become a part of these music classes. KEYWORDS Wallachia, musical folklore, Wallachian song, Wallachian dance, music class

PhD (English) / Department of English

At electronic dance music events in the United States, artists and attendees tend to appropriate religious and spiritual sounds, images, and dress, especially from India but also from elsewhere, to varying degrees. This project explicates the effects of adopting religious symbology, ethos, and atmosphere in the music and culture of EDM, specifically in bass music culture. It argues that although individual participants may adopt aspects of religious traditions in ways they perceive as authentic, the potential for misappropriation still exists. In other words, EDM culture creates opportunities for misappropriation that individual participants navigate in order to construct their own individual forms of spirituality in relation to the live music experience and EDM culture at large. Utilizing a set of seven interviews with individuals who have close ties to the EDM community, this project explores the ways that attendees navigate conversations about cultural appropriation, specifically in the bass music community. A set of common attitudes, opinions, and beliefs forges a syncretic spirituality among these seven interviewees, which inform how these individuals navigate conversations about appropriation in the EDM community. In addition to these seven interviews, three case studies that focus on specific artists who spearhead specific subscenes frame this project: the psychedelic downtempo duo Desert Dwellers, the multiethnic trap artist TroyBoi, and the cult dubstep DJ Bassnectar. Synthesizing ideas by these seven interviews with previous EDM scholarship and specific cases within these communities, I conclude that as artists and attendees negotiate meanings with one another, they must ultimately choose to justify their appropriation, often by claiming a syncretic sense of spirituality, or to avoid association with it entirely.

In diesem Beitrag werden die Tanzsammlungen Terpsichore von Michael Praetorius und Banchetto musicale von Johann Hermann Schein hinsichtlich der Organisation der Mehrstimmigkeit und der Instrumentalbesetzung untersucht. Die Satztechnik weist zum Teil deutliche Bezüge zur usuellen Musikpraxis früherer Zeit auf. Wenngleich die Tänze von Praetorius und Schein nicht improvisiert wurden, so sind doch Formeln improvisatorischer Praxis nachweisbar, einige wenige Tänze in diesen Sammlungen gleichen fast einer notierten Improvisation. Die Tänze sind nicht im engeren Sinne instrumentiert, aber Schein und Praetorius überlieferten Hinweise zur instrumentalen Ausführung. Zur Erhellung der Besetzungsproblematik tragen andere Instrumentalkompositionen Scheins sowie die Organographie aus Praetorius’ Syntagma musicum (1619) ebenso bei wie Überlegungen zu damals gängigen Formationen wie beispielsweise zum Gamben- und Violinconsort oder zum mixed consort nach englischem Vorbild, die auch mitteldeutschen Komponisten vertraut waren. / In this contribution the collections of dance music Terpsichore by Michael Praetorius and Banchetto musicale by Johann Hermann Schein are discussed with respect to multi-voice settings and instrumentation. Although the dances by Praetorius and Schein were not improvised, some typical formulas of improvisational practices are identifiable; indeed, some dances in these collections appear almost identical to transcribed improvisations. These dances are not instrumented or arranged in the modern sense, however Schein and Praetorius provided hints for instrumental realization. To clarify the question of which instruments were used, other instrumental compositions by Schein as well as the organography from Praetorius’s Syntagma musicum (1619) prove helpful. Common ensemble types during this period like viol and violin consorts or English mixed consorts, which were familiar to Mid-German composers, are also taken into account.

Die Sarabande ist ein Tanz, der sich durch den Stilisierungsprozess im Verlauf des 17. Jahrhunderts besonders stark gewandelt hat. Der Beitrag möchte zeigen, dass Johann Jakob Froberger, Siegbert Rampe zufolge der wichtigste deutsche Komponist für Tastenmusik des 17. Jahrhunderts, an diesem Wandel wesentlich beteiligt war. Ausgehend vom frühen Sarabandentypus, wie er etwa bei Andreas Hammerschmidt und Johann Rosenmüller anzutreffen ist, wird eine Entwicklung in Frobergers Schaffen aufgezeigt, die eine fortschreitende Stilisierung erkennbar werden lässt. Das Hauptaugenmerk der Analyse liegt auf den gattungsbedingten metrischen Ambiguitäten, mittels derer Froberger einen Sarabandentypus von äußerst artifizieller Faktur und einen gleichsam spirituellen Ausdrucksgehalt hervorbringt. / The sarabande is a dance that changed significantly during the seventeenth century due to a process of stylization. This article demonstrates that Johann Jakob Froberger, according to Siegbert Rampe the most important German composer of keyboard music in the seventeenth century, played an important role in the process of this change. Starting from the early sarabande type as found in works by Andreas Hammerschmidt and Johann Rosenmüller, a development in Froberger’s work is outlined that shows a progressive stylization. The main focus of the analysis lies on genre-specific metrical ambiguities that allow Froberger to create a sarabande type of highly artificial structure and an almost spiritual expressiveness.

No description available.

Anfang des 20. Jahrhunderts begann sich der Tanzmusik-Markt zu internationalisieren und die europäischen Staaten orientierten sich zunehmend an Trends, die von den USA ausgingen. Die Übernahme afroamerikanischer Charakteristika in die Interpretation, Instrumentation und Kompositionen europäischer Tanz- und Unterhaltungsmusik (TUM) wurde ab den 1930er Jahren, in der Hochzeit swingender Bigbands, zur Regel. Ich möchte in der vorliegenden kulturwissenschaftlichen Arbeit der Frage nachgehen, inwieweit diese Internationalisierung der TUM im Osten Deutschlands nach 1945 weiterhin Bestand hatte. Dort galt ja die USA und der Westen nun als »Klassenfeind«. Gelang es der staatlichen Kulturpolitik, das sozialistische Musik-Feld in ihrem Sinne zu dominieren? Wurde also in der sowjetischen Besatzungszone (SBZ) und frühen DDR eine andere, »nationalere« und sozialistischere Tanzmusik produziert und rezipiert als in Westdeutschland? Mittels einer hermeneutischen Untersuchung relevanter Musikdiskurse und einer möglichst umfassenden Einbeziehung aller im Musik-Feld tätigen Akteure und ihrer Strategien gelang es mir, ein differenziertes Bild zu zeichnen. Ein Ergebnis ist die Diagnose zweier getrennter Welten: einer Kulturpolitik, welche die öffentliche zensierte Meinung in der DDR bestimmte und westlich beeinflusste Tanzmusik ablehnte. Und andererseits das Musikgeschäft in alltäglichen Tanzabenden, Radioprogrammen und Schallplattenproduktionen, welches gezwungen war, sich an internationalen Trends zu orientieren, wollte es nicht Tänzer brüskieren oder Hörer an die »Westsender« verlieren. Diese Kluft zwischen Intention und Wirklichkeit, unter der vor allem die ausübenden Tanzmusiker zu leiden hatten, konnte zumindest bis zum Mauerbau 1961 nicht überwunden werden. Das lag unter anderem auch an der Uneinigkeit unter den staatlichen Musikexperten, wie genau die Kriterien einer vom Westen unabhängigen Tanzmusik auszusehen haben. Die vorliegende Arbeit untersucht eingehend das Tanzmusikgeschäft in Dresden, hat aber den Anspruch, auch für andere Städte der DDR in diesem Zeitraum zu gelten. / In the beginning of the 20th century, the market for dance music began to become more international, and also the european states imported more and more trends like the new jazz idiomes from the USA. In the 1930`s, when swing was to become the first worldwide pop music, lots of dance bands also in germany integrated the new stilistics in their everyday music work. In this cultural study i would like to ask, if this internationalism in dance music was lasting through the years of early cold war until 1961. In the eastern part of germany under soviet government structures, the USA was the military and cultural enemy. Western dance music like swing and R`n`B had to be replaced by somewhat socialist and nationalist dance music, so the governmental culture politics. Became their wishes reality? Does exist such genre in popular music? With the help of hermeneutics, analysis of relevant discourses and the strategies of musicians, politicians and writers, it is possible to state two worlds of music life in the young GDR. On the one hand, the censored public opinion, in which all western trends in dance music were damned. On the other side, the socialist music business with live music, radio broadcasting and music production, in which music influenced from afroamerican, latin american, jazz and country genres represented a big part. Because radio listeners for example could easily switch to western stations and so be distant from political propaganda. Or the dance halls, which had to consider the wishes of the mostly young dancers for new genres like rock`n`roll because of financial issues. The gap between this two worlds couldn`t be closed until 1961, and especially the dance musicians had to be creative in this regard. The situation became more complex because of the cluelessness of the music experts, how a genuine socialist dance music had to sound like. This study explores the dance music business and cultural politics in dresden, but it claims to be representative also for other cities in the young GDR.