This thesis presents personality of Josef Suk, the great violinist of the 20th century, who followed his famous ancestors - Antonín Dvořák and Josef Suk. Describing Master not only as a violinist, but also as a chamber musician, conductor and pedagogue. Besides personality this famous violinist the work pointing on Czech violin school, which he representatived and his quality of playing the violin was on the top of the violin elite on the world. There is describe co-operation with the others artists, who have important place in his life. Excipting Suk's path work undrapes his private and ideas too. In the end of work is interview with PhDr. Jana Vojtěšková, the author of exhibition about Josef Suk, which was big benefit for my thesis.

Detta är en skriftlig reflektion inom konstnärligt självständigt arbete på kandidatnivå som behandlar ämnet nervositet. Studien påvisar att nervositet är kroppens naturliga reaktion på en hotfull situation och hur man som musiker och cellist mentalt kan arbeta med att förbereda sig inför nervösa situationer. Genom Antonín Dvořáks cellokonsert i b-moll Op. 104, sats 1 utforskas tekniska svårigheter med stycket med anknytning till nervositet och provspelningssituationer. Genom att prova ett antal metoder och tankesätt för att motverka prestationsångest samt intervjua en sakkunnig jurymedlem har frågan kring vad man kan göra för sig själv och vad som förväntas i en provspelningssituation utretts. Detta resulterade i insikten kring att mental styrka är något som går att bygga upp och påverka själv om man uppövar ett konstruktivt tänkande. Utöver detta upptäcktes också vilka parametrar som var viktigast i en provspelningssituation där tonkvalité, rytm och intonation stod i centrum. Några viktiga passager i Dvořáks cellokonsert diskuterades vidare och tekniska aspekter för att underlätta dessa framlades. Studien kan komma till nytta för unga musiker, främst cellister, i deras förberedelse inför nervösa situationer, så som provspelningssituationer, där Dvořáks cellokonsert i b-moll Op. 104 är mycket vanligt förekommande. / <p>Inspelning av Antonín Dvořáks cellokonsert i b-moll, Op. 104, sats 1. takt. 82-267 (exposition och genomföring som är standard i provspelningssammanhang). Pianist: Georg Öquist. Lokal:Sveasalen (4301), Kungl. Musikhögskolan, Valhallavägen 105, 115 91 Stockholm.</p>

In the nineteenth century considerable ambiguities arose regarding sacred and secular categories in music. Although such ambiguities have often been discussed in relation to the mass, this study uses the genre of the lied - in particular, Dvořák's Biblical Songs - as a means of examining the interaction between these categories. The problems inherent in the idea of 'sacred lieder' are discussed, including case studies of Schubert's 'Die Allmacht' and Wolf's 'Nun wandre, Maria' from the Spanisches Liederbuch. The Biblical Songs are located within Dvořák's biography, to show the great extent to which they were a reflection of his personal situation. In-depth analysis of the music and texts of the songs, both individually and as a cycle, reveals that they are representative of a point of interaction between secular lieder for concert performance, and devotional lieder for a domestic context. A comparison with Brahms and his Four Serious Songs reveals two very different responses to biblical texts: whereas Brahm's solution places emphasis on secular love, Dvořák's songs show a progression from doubt and confusion about God through to faith and rejoicing. Furthermore, whereas the Four Serious Songs demonstrate a highly individualistic solution to the pessimism expressed earlier in the cycle, Dvořák's use of folk idioms at key locations in the Biblical Songs places emphasis on communality and tradition. However, the cycle also reveals a more complex expression of faith than is often assumed of Dvořák.

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.

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 present diploma thesis investigates Czec sociopolitical and translation reception of poet, journalist and dissident Natalya Gorbanevskaya. The thesis bases on the context from the Moscow Red Square demonstration against the occupation of Czechoslovakia in August 1968 and maps its reception, which is above all in the Czech Republic an inseparable part of the image of this personage. Further, it introduces the life, literary output and poetics of Gorbanevskaya and makes translatological analysis of Czech translations of authorial parts from her book Red Square at Noon, cycle of eight-line-poems "Place de la non-Concorde" (Площадь несогласия) and other particular poems. Inseparable part of the thesis is also an interview with the author of Czech translations Milan Dvořák.

This thesis examines the prosaic works of Ladislav Dvo ák (1920-1983), specifically the collection of short stories entitled Šavle me e. It analyses the construction of Dvo ák's texts with regard to two significant aspects. First it deals with the connection between reality and the world depicted in the narrative. With the help of the concept of objectivity', adapted for literary interpretation, it explores the role of facts, description and narrator in the text. The second part treats the function of comedy in the stories, especially the difference between comical and humorous characters and the role of the verbal and situational humor. The analysis is based on the theories of P emysl Blaží ek and Milan Jankovi , who treat the specifics of creating meaning in literature.

In this Master's thesis, I attempt to capture the disparate semiosis of two musical genres - a traditional opera, Rusalka, which has a unique position in Czech national music, and a musical of the same name. On the basis of theoretical findings from semiotics as a science, from the approaches of F. de Saussure, C. S. Peirce and R. Barthes, and by means of semiotic analysis, the thesis unravels semantic elements that are specific for theatrical art. Attention is directed at the symbol as a major tool for semiosis and the classification of symbols on the basis of Peirce's three ontological categories. The analysis focuses on decoding the semiotic systems used in the two genres (the libretto, the music, the characters, the story, and the technical and symbolic means that are employed). The analysis also deals with the question of intertextuality and the ideological background of the text, and attempts in this way to compare the differences and/or the similarities of diverse semiotic codes of the same class, and to capture their originality and specificity. At the same time, the thesis is focused on the dominant semiotic code of the two genres. This is, on the one hand, determined by the systemic distinctions between opera and musical theatre, while, on the other hand, it is primarily predetermined by...