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.

The aim of this thesis is to provide a wide scope of information that might be valuable for those involved in music management. At first, the project enables to understand pre-business phase, a period before setting up of an actual company. The author asks an important question of being ready for such a crucial decision, followed by general description of business institution and principles as such. Those work for any type of business including music industry.

Tato diplomová práce je výzkumem žánru hudebního divadla (music theatre). Mým záměrem je prověřit, jak může využití hudby a zvuku jako hlavních komponent inscenace otevřít nové struktury a metody v divadelním procesu a výsledné inscenaci. Tento žánr je v situaci neustálého zkoumání, což vede k tomu, že umělci nacházejí nové metody pro svou uměleckou práci. Tuto diplomovou práci začínám menším výzkumem o sluchu a funkci uší v divadelním kontextu. V této části se zaměřuji na základní poznatky o tom, jak používáme své uši při návštěvě divadla. Pokračuji psaním o žánru hudebního divadla z historického hlediska. Hudebním divadlem ve starém Řecku počínaje a hudebním divadlem naší doby konče; zaměřuji se na různé formy, umělce a události, které jsou pro hudební divadlo a jeho vývoj důležité. Dále píšu o pojmu hudební divadlo a jeho mnoha definicích, a ještě předtím, než ukončím tuto kapitolu, představením režiséry a skladatele Nikolaje Cederholma a Heinera Goebbelse. Analyzuji dvě různé hudebně-divadelní inscenace: Cederholmovu s názvem Teaterkoncert Beethoven a Goebbelsovu Stifters Dinge, abych získal hlubší pochopení jejich metod a vizí ohledně hudebního divadla. Zaměřuji se na rozdíly a podobnosti obou inscenací. Další část mé práce je věnována mé vlastní zkušenosti z tvorby hudebního divadla. Dělím se o své myšlenky a úvahy o dvou procesech zkoušení a inscenacích, které jsem režíroval v závěrečném ročníku studia. Poslední část práce tvoří diskuse a úvaha o výzkumu, který jsem udělal, o zkušenostech, které jsem ohledně hudby a zvuku v divadle získal, a také o tom, jak to může otevřít nové struktury a metody práce v divadelním kontextu.

These graduation work talk about the traditional and contemporary music of Kazakhstan, especially in the second half of the 20the century. The aim was not talk only about the folk composers and, on the other hand, academic composers, but also to put out those composers, who have connections between these two different styles. Here I put the names of the composers chronologically based on their life periods and divided on the base of the several musicologists. I add my list of composers, which is enlarged to the list of the composers from the new generation. Additionally, I pay strong attention to all these selected composers and show the music examples of the chosen composers. Especially, I analyze compositions of those composers, who have a different musical style, different music language and different way of composing.

Abstract The thesis presents an issue of small recording studios focused on music recording in the Czech Republic. It is a modern and fast-growing area of sound studios that has never been seriously described before. The first part describes small recording studios, reasons of their founding, differences between small and large studios. The second part is focused on compiling and evaluating of collected data acquired by personal visitation of those studios. It describes often problems, offered services, equipment and expertise of their owners. The data were collected during personal visitation of all recording studios mentioned in this thesis. In the end, the thesis presents the virtual model of statistically average small private recording studio in the Czech Republic.

The European Saxophone Ensemble was formed by twelve young saxophone players from twelve different countries of the European Union. Every year toured at least seven countries of EU and for each of the years were composed 5 - 6 new pieces from the authors of different nationalities and different music preferences. This project was held in the years 2008, 2010, 2011, 2012 and 2013. It was organized by the association MET-X, whose main target is to connect different cultures with music. My theses is focused on theoretical and practical knowledge of European grant program Culture. The centre of the theses is the grant program strand 2. Support for organizations active at European level in the field of Culture from which the MET-X was benefiting. It should be also a documentation and resume of the whole project European Saxophone Ensemble.

This thesis discusses the development of Albanian choral music from the early 20th century to the present. It provides a general history of Albanian culture and politics as context for the rapid changes that happened during the 20th century and how that has influenced the musical life of the Albanian people. The significance of this influence is then represented and analyzed through the works of three prominent Albanian choral composers from different generations, whose lives and body of work span the last century. Through these analyses, we explore the evolution of Albanian choral music and how modern composers preserve traditional folk elements, yet are influenced by the cultural and political environment of their respective time.

The work describes the concept of disklavier Yamaha (player-piano) with electronics, the concept of a sampler with sampled human voice controlled by an Ondéa interface (Martenot waves) by J. Krejčík and the concept of the interactive piano by J.-C. Risset. The examples of pieces composed on the basis of these concepts show, how these concepts have affected their definitive music form. The work undertakes a review of the relationship between a musician's gesture and an instrument interface and its relevance to musical perception and thinking. . The work is complemented with a summary of the historical development of player-piano, and Martenot waves.

The thesis describes the life of Ida Kelarova and captures part of her lifelong activity. It is not possible to show all of the important things that mrs. Kelarova hase done, so I will focus on those that I witnessed personally or those that I was part of. It is great honour to weite my work about mrs. Kelarova especially because I had the opportunity to work directly with her. Majority of this paper comes from personal discussions and experiences.

This thesis deals with the contribution of Belarusian composers to the 20th and 21st century guitar repertoire. The aim of this is to highlight important role of authors from Belarusian guitar school in creating guitar repertoire not only in Belarusian context. The first part of this thesis focuses on the works of professional composers composing for guitar, as well as the works of Belarusian guitarplayers-composers.Also, I systematised published ,usic material and methodological publications regarding guitar, from the historically first guitar anthology in Belarus till today. In the second part, I analysed chosen guitar composition of Belarusian author - the Concert for guitar , strings and bells from Galina Gorelova. While determining the contribution of Belarusian composers to guitar repertoire, I first researched the background of professional guitar education and interpretation in Belarus in soviet times. These are the roots of madern professional guitar composer school. The work of particular composers has been analysed based on their interpretation, pedagogic and composer activity in historical and music - cultural context. I analysed the Concert for guitar, strings and bells in three parts from G. Gorelova from the point of view of guitar part, its role in this composition, dramaturgical content and musical form.I managed to systematise the work of Belarusian composers- guitar players and non - guitar players, as well as publishing of their opuses and compositions, and to include them into a broader context of Belarusian guitar school development. The benefit of work lies in highlighting the role of Belorusia composers in creating guitar repertoire not only in Belarus. Based on data ascertaned, it is possible to contend that Belarusian guitar players and composers contribute significantly to the 20th and 21st century guitar repertoire.