Works of Leoš Janáček were always very close to me. I grew up listening to them , when I was a child I listened to his operas many times in the Janáček Theatre, where my father worked for years. I was therefore very excited to delve myself into the work of the Glagolitic Mass, and I am also sure that it is very good material to write a thesis. In the main part of this work I´m going to focus on comparing different interpretive approaches, because we can interpret Janáček´sworks in many different ways and it is hard to determine which is the right one. Me as a native of Brno, i inclined to the "Brno" tradition of interpreting master´s works. I´m very curious about all the different interpretations, above all Sir Charles Mackerras, who is credited with promoting the Janáček music in the world.

This thesis called Breath and Embouchure Exercises for Saxophone deals with the methodology of teaching techniques on the saxophone in a broader sense of all influences on tone creation. It begins with physical posture, continues with basic breathing techniques and only after their expected mastering proceeds to special techniques, which allow mastering of embouchure techniques and habits. This thesis follows and complements the publication of David Liebman: How to Play the Saxophone. The author goes more in depth where Liebman is too brief. He is not satisfied with just enumerating playing techniques but tries a view from the other side - from quality-aesthetic requirements to individual exercises. The focus of the thesis is to develop of a comprehensive system of exercises that leads those concerned through individual successive steps towards the ideal mastery of the tone creation technology. The aim is to provide reassurance to seekers on their way. The author as a teacher makes his proven system available also for other students.

The thesis deals with Recommened literature for tuba playing on elementary music school. Labour mentions the modern history of the tuba instrument. The main part provides an overview of the tuba literature – schools, etudes and excercises, solos and chamber and orchestra parts. Biographies of autors are connected with description what you can find in literature with their examples. I always noted recommendation for which classes are these materials appropriate. Pictures of modern tuba instruments are attached for the ilustration.

Diploma thesis is focused on the personality of the Arcangello Corelli and his contribution on the field of musical forms and violin. Work is divided into three chapters. In the first chapter I describe Arcangelo Corelli ´s life in a historical context.In the second chapter I focus on musical forms whose development contributed Corelli and I also give a concentration on individual works. The third chapter is devoted to the field of issue of the ornamentation of 17th and 18th century as well as Corelli´s fifth opus, which is an indispensable source of knowledge to period - style ornamentation. I hope this work will serve as a source of information not only about extraordinary composer, but also contribute to clarify the issue of ornamentation of 17th 18th century which is still an area somewhat elusive for many musicians.

This thesis wants to capture the circumstances of creation of compositions for an initial period of two organists. It also wants to bring a summary of tracks for two players (both on one and on two instruments) as evidence of the interests of composers in this field, as well as some assistance for those wishing to those compositions. Thesis is divided into the following chapters: The first chapter gives a brief overview of the history of European music with respect to the period when at least sporadically appeared songs for two organists. The second chapter gives a brief insight into the history of the organ, their origin and evolution over the period music. Chapter three discusses the parallel development of other keyboard instruments, especially the piano and harpsichord, since a long time the musical literature for organ and these instruments are virtually identical. In the fourth chapter describes the development of chamber music and following the fifth chapter provides an overview of the development of four-handed play keyboards. Chapter Six brings a short treatise on the development works for two organists and seventh identifies specific problems in the actual interpretation. In the eighth chapter we follow compositional work of selected tracks and the ninth is of a similar nature. It is given to me the most important compositions for two players, six concerts P. Antonio Soler. The most important contribution of this work is the tenth chapter. It is the complete list of compositions organ duets.

SEIBERTOVÁ, Zuzana: Zdeňek Lukáš's Vocal Work a Personal Interpretation of the Cycle Prosté písně, op. 112. ( Disertation ) / Zuzana Seibertová. - Academy of Performing Arts in Prague. School of Music; Department of Voice and Opera Direction. - Dissertation Mentor: MgA. Martin Bárta. Prague: HAMU, 2014. The dissertation introduces the reader to the 20th century Czech composer Zdeňek Lukáš, familiarizing the reader with his compositions for voice and providing the author's own interpretation of the song cycle Prosté písně. The first chapters provide information on the composer's life, the development of his compositional style, and, most importantly, the author's compositions themselves, which had a significant impact on the 20th century Czech music scene. The following chapters are dedicated to individual songs of the song cycle Prosté písně, focusing on its interpretation, the relationship between the text and the music, and the union of three components of the cycle - voice, flute, and piano. In her analysis of the individual songs, the author draws on her personal experience interpreting the cycle. Keywords: Zdeněk Lukáš. Vocal repertoire. Choral repertoire. Song cycle. Song.

This thesis focuses on the personality of Richard Wagner, on his music and opera reform. After getting acquainted with biographical of the artist this thesis deals with the various stages of formation and development of the artist this thesis deals with the various stages of formation and development of the music festival and the Festspielhaus in Bayreuth.An integral part of this thesis is the inclusion of all sources of inspiration that led Wagner to the reform - from colleagues, composers, formal musical structures inspiration to drama and mythology. The main emphasis inthis thesis is given to the reform itself. This reform is closely related to the theoretical works of Richard Wagner, and is subsequently applied in his operas, which are in this thesis analyzed in detail. Furthemore, the focuses on the number of composers, who were influenced and ispired by the reform of Richard Wagner and who applied this reform in their operas and instrumental works. The conclusion of the thesis is a summary of contribution of the Wagner´s opera reform.

My doctoral thesis deals mainly music for percussion 20th and 21st centuries. It provides professional public insight into the occurrence and the practical use of musical and non-musical elements in connection with the possibilities of ever growing range of audio-visual elements. On the example of analyzing several premiere works by Czech composers shows the possible developments of this kind of composition. It also discusses the general benefit of the media world to the world of classical music.

Concertante principle is one of the compositional technic that goes along in the western music for more than four hundred years. Basis for this historic techniques are used until now. For researcher arises the question: Exists the concertante principle in the newer musical literature, or merely is a relic of the distant past? In the last few decades has been one of the strongest personalities, who dealt with the using of the concertante principle, the Russian-German composer Alfred Schnittke, who wrote several dozen concertante works. In music history after the Second World War, we can hardly find any another person that would be dealt with at length this genre. The aim of this thesis is to examine in detail, how the composer treated with this technique if used only historically given compositional techniques, or innovatively replaced. As a method of investigation was chosen analysis of large amounts of scores, on which there is evidence Schnittke use and targeted using of concertante principle.

This thesis is focused on analysis of cello works by Czech contemporary composer Ondřej Kukal. Thesis also contains his curriculum vitae and list of his compositions.