The theme of my thesis is penetration of western influences on japanese music. Altrough classical music has been very popular in todays Japan, it was introduced to the Japanese only in the 15th centruy. I was interested in all kinds of music which were popular in Japan and in the way they got there. I set three importanbhistorical periods and dealt with each of them in regard of western music brought in the Japanese society. I think that mainly thanks to the efforts of many extraordinery people from Europe, America andJapan classical music was successfully introduced in Japan and it has been very popular there since then.

Actual music theory and practice in contemporary classical music and jazz are closely connected with the matters of creation various harmonies and timbres. The works by the most respective composers such as Maria Schneider (in jazz music) and Tristan Murail (in contemporary classical music) are crucial for their aproach to this theme. The analysis of both compositional aproaches and consideration of a possibility of connecting them is the main topic of this paper.

The thesis aims to address issues concerning technical piano playing by university students. The topic is approached through a discussion of the overall aesthetics of exercise and a survey of types of piano touch, all using specific analysis of etudes by Russian composers. Etudes by Glazunov, Prokofiev, Rachmaninoff, Scriabin, Stravinsky and are the focus of the analysis. The exercise methods discussed in the text lay much better foundations for technical piano playing, highlight the importance of consciousness as the key factor in the process, and make the piano player examine the musical text with much more rigour. The core of the thesis is not only the detailed discussion of Russian etudes that are only rarely played in the Czech Republic but also a reflection on the piano exercise itself that brings the player towards efficient and meaningful work with the instrument.

In this work, the author addresses how, in different ways, western composers can be inspired and influenced by the concepts of the rhythmic systems used in both North Indian (Hindusthani) and South-Indian (Carnatic) classical music. Numerous examples are given in the text from the works of various European, American and Canadian composers who received inspiration and creative material from Indian rhythms in different ways. Among these illustrations are classics of 20th century music composed by luminaries such as Olivier Messiaen, Miloslav Kabeláč and Philip Glass (among others) - for whom the highly advanced systems of rhythm from India became a major impetus for the development of their musical language. The author himself is a long-term student and performer of Indian classical music, and in this text, through examples from his own compositions, he reveals and explains different compositional techniques influenced and inspired by the systems of rhythm in Indian music.

The thesis called Music in Choreography with the subtitle Interaction of Dance and Music with the Use of Motion Sensors aims to characterise the relationship between dance and music, and how this relationship was influenced by the advancement of technologies during the 20th century. The work pays close attention to the possibilities of using motion sensors, it presents the basic types of sensors and their use in choreographic work. Based on analysis and exploration of her own master´s degree choreography, The Art of Manipulation, the author describes the process of collaboration between a choreographer and a composer in creating a performance which uses modern technology in the form of Hot Hand motion sensor.

This work treats about the permeation of two different compositional approaches (real time technologie and instrumental composition) in proper piece of art - music and dance performance The Art of Manipulation. First I treat about the development of interactive motion sensing systems in the last fifty years and further I describe to different possibilities of their categorisation. In the next part I describe the performance The Art of Manipulation in terms of its dramaturgy and musical content. Further I deal with compositional methods that I used in the instrumental and electroacoustic musical plane and concurrently I analyze their relationship. In the end I describe the architecture and function of the virtual instrument used for real time sound recording and processing.

The author is focusing on issues of opera in new media in her work. The introduction defines and decribes the concept of new medias. After that, author is especially focusing on presentation of operas which are broadcasted live into Czech cinemas, history of this relatively young phenomenon and its gradual develepment. As a next topic mentioned in the author's work is possibility to watch live broadcasts or records via particular websites of theatres. Finally, the author is describing internet websites, which are dealing with the opera issues, history, content and specifics. The author is summarizing other options how to present opera.At the end of the work, the author is trying to characterize meaning and benefits of the new medias for today's opera and opera audience.

The core of this work is to search for analogies between different aspects of music composition and film speech in relation to music and film theories and my own compositions and art works. The initial chapter focuses on the terms visual music and synaesthesia. The second chapter is the principal part of the thesis, and compares different parameters of musical composition and film speech and tries to find inspirational influences between these two. In the third chapter I use the previous research to analyze chosen own works.

This thesis is an overview of American song and opera repertoire from the beginning of the 20th century to the present and is conceived as an initial, brief look into this, in the Czech context still unknown, repertoire. This overview is meant to fill in information which is missing from Czech musicology and is meant primarily for singers wishing to include the works of American composers in their repertoire. The thesis is supposed to illustrate both the diversity and the general character of American song and opera repertoire and does so through an examination of the national character of American classical music, a brief history of American opera, a division of song composers into stylistic categories, and a selection of twenty-one American composers the singer should know.

This thesis is engaged in cantatas of Johann Sebastian Bach, in which composer calls for violoncello piccolo. It is divided into four chapters. The first chapter deals with the issue of instrument, the following chapter is dedicated to the historical kontext of cantatas and their instrumentation in connection with violoncello piccolo. The third chapter is a musical analysis of individual arias in nine subsections. The fourth chapter deals with the question, on which instrument can be now these solos. The thesis contains actual score examples and the footnotes.