My dissertation is based differentiating individually experienced, musical time, and shared, astronomical time. I combine the knowledge gained in cognitive science experiments with music-theoretical approach following the path from sound received to the hierarchized representation of the temporal component of music. My focus are those possible mechanisms that allow deviation of musical time from the astronomical one and the factors influencing them. As concerns music theory, I chose the analytical tools provided by the General Theory of Segmentation and the Recontextualization Theory by D. A. Hanninen. The inner sharing of pulse by the listener or performer with the pulse of sounding music I consider to be the decisive moment for/in the deviation of musical time. I link the pulse boundary with prospective and retrospective strategies of the perceiving person. My considerations unfold on an axis between two poles of pulse and gesture, i.e. between full kinaesthetic synchronization with the outer, shared time and the maximum deviation dependent on the individual manner the gesture is internally represented. I convey the hypothesis that the deviation of musical time is possible only with retrospective strategies of processing of musical events. My theoretical considerations and suitability of the chosen analytical tools/means are verified in the second part, in analyses of compositions by G. Grisey, O. Messiaen, P. Kotík, P. Graham and A. Breier. Enclosed are also some theoretical reflections of these composers concertning their work with time.

The writer of this essay has chosen this topic, which is very important for all interpreters. Mostly it is about the view to work with score of piano music, its understanding and successful presentation to audience. The chosen topic requires applying of several methods that writer uses, e.g.: analyses of music script, experiment, confrontation of performance, generalizing of own and foreign experiences, intuition, which is very important for understanding of productions. The essay is divided into three parts. The first one is about the history of music score and work necessity of performer. The writer thinks that music score has a dualistic character. It does not explicitly express, what is needed for a real interpretation. In this part, the write thinks of music score from different views. Interpretative and art connection, the way from the first idea of musician to the ear and soul of listener - that is the point, which connects the whole part. The writer is concerned on questions of interpretative history, interpretative tradition, level of interpretation that are very important for all interpreters. The writer draws basic principles of interpretation from these psychological ways, there is also point out the necessity of theoretical and practical united access. The end of this part is about some...

This dissertation is invested in both a historical consideration of the Albanian musical culture from antiquity to modern days and an examination of specific features of Albanian modern music as depicted by the individual communicative aspects of the musical language used by contemporary Albanian composers. From this perspective, this research work demonstrates how extensively the musical culture in this area is entangled with a variety of influences ranging from its deep cultural traditions embedded in its music folklore, accompanied by traditional musical instruments specific of the two main geographical distributions Geg (North) and Tosk (South), to the foreign influences coming from the Albanian diaspora during the powerful social and political developments of the 19 th and 20th century in Europe, which influenced, sometimes unexpectedly and even paradoxically, the very nature of the Albanian modern music. Methodologically, the focus of this thesis is on the stylistic analysis of selected compositions by leading contemporary Albanian composers. The examination of their compositional style and individual music language proves that, despite distinct differences in the way they worked with their music material before the fall of Communism in 1990 and afterwards, the Albanian composers – in addition to some contemporary compositional techniques that are unique even on the international arena – constitute the dominating influence in the Albanian national musical landscape. Over the last three decades Albanian composers have achieved a remarkably unique style synthesis: their musical language is both original and at the same time well-integrated within the polystyle context of the postmodern direction in the European music culture. The international achievements of several acclaimed Albanian contemporary composers also indicate the fact that, even after years of Communist isolation, the Albanian music has earned a place of its own in the international music world.

This dissertation deals with authorship approaches of composers of the 20th and 21st centuries, who decided to settle their thinking on the organization of tonal material by using microintervals as a functional tonal material. My intention was to look at this topic from a composer's point of view, not from a scientific point of view. I perceived this view is creating a very important dimension for a certain type of composition that allows the composers to use the elements in terms of a structural unit. Consequently, the composition process becomes a very lively unit that the composer grabs. My dissertation thesis describes the exposition of my own insight into the actual reality in correspondence with the historical context.

This master thesis focuses on the management of music festivals. The theoretical part defines the term festival, sets Stakeholders and the various areas of management, which must the organizational teams of festivals take care of. Followed by two case studies. The first one compares the Czech International Music Festival Prague Spring and the English City of London Festival. The second case study applies the theoretical knowledge and the results of the comparison of the two major and professionally lead festivals into practice and explores the emerging International Festival of Film Music and Multimedia Soundtrack Poděbrady.

The dissertation thesis deals with the occupation-related health problems of musicians and with the prevention and solution of these problems. The first part of the thesis is the introduction to the field of Physiology of Music and Performing Arts Medicine and introduction to the occupation-related health problems of the musicians (the most common sorts and causes of the problems). The thesis contains results of the statistic research concerning the occupation-related health problems of students of Keyboard Instruments Department of HAMU from the year 2011. The main part of the thesis is the treatise on the basis hygiene of practising a music instrument and on the body at the instrument. The thesis contains also the report about trial courses and consultations concerning prevention and solution of the occupation-related health problems if musicians for students of HAMU, realized within the dissertation project in the years 2009 ? 2012.

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.

This thesis intoduce us with a successful composer and personality. First part is about his life – youth, studies, interests, musical success, teaching the children. Second part is dedicate to his work, full list of compositions with illustrations and analyses of choosen pieces, as well as a CD recordings include.

The Czech Nonet was faunded in 1924 by a group of students of the Prague Conservatory and it is one of the longest continuously performing chamber ensemble in the world. The ensemble´s instrumentation is based on Spohr´s Grand Nonetto Op.31: violin, viola, cello, contrabass, flute, oboe, clarinet, bassoon and horn. The Czech Nonet was quickly recognized as both an important interpreter of classic repertoire and an ardent champion of new music, inspiring the composition of more than 300 works by some of the greatest living composers, including Prokofiev, Lutoslawski, Martinů, etc. The Czech Nonet has made numerous concert tours round Europe ( Germany, Austria, United Kingdom, the Netherlands, Spain, Italy and France), North and South Americas, Japan, Africa and has performed at many world-famous music platforms, such as : Musikverein Vienna, Montreaux Auditorium Starvinskij, the Munich Herkulessaal, the Auditorio de Zaragoza, the Lyon Auditorium, the Washington Library of Congress, the Vancouver Playhouse,the Dvořák hall at the Prague Rudolphinum etc. The Czech Nonet´s rich discography has been recorded by the Supraphon, Panton and Harmonia Mundi recording companies on forty-five LP´s and CD´s.

The diploma thesis discusses chamber ensemble from Pardubice, Barocco sempre giovane. It includes the history of ensemble, discography and abroad tours, permanent members and the founder and art manager of the ensemble Josef Krečmer, significant soloists and the other czech ensembles with the similar specialization. A special chapters deals with important festivals and musical courses which are closely connected with the ensemble. Even the repertory of the ensemble with the authentic interpretation is not missing.