Master’s thesis Music in media is particularly focusing on the modern media called music streaming. It analyzes its current development and tries to predict its future evolution.

Doctoral thesis Music in Czech feature film (Composing principles of Czech film music composers) is focused on analysis of composing principles in relation to visual part of the movie. Introducing chapter is analyses of beginning of associative film music convention (the music in close relation to visual part) in Czech silent and especially early sound film. The second, the most extensive chapter analyzes selected examples of composing principles of composers in relation to functions of film music which it fulfills.

The goal of this thesis is the evaluation of tradicional established orchestras at music high schools and universities in the Czech Republic. This thesis includes of course the comparison of the czech academic orchestras and the music-university orchestras in Austria, Germany and Slovakia.Suggested conception of the HAMU university orchestra contains the opportunities of the alternative funding and the inside survey of opinions on the HAMU-orchestra functioning.

Subject of this written work is as natural acoustic reverberation phenomenon in enclosed spaces used for music production and its replacement. The first chapter defines the reverberation as a physical phenomenon and defines the basic concepts. The second chapter is about reverberation authentic space, its characteristics and specific characteristics. The next chapter describes the properties of artificial reverberation, its parameters and potential problems. This chapter also shows you how to adapt artificial reverberation. The fourth chapter is devoted to a comparison of authentic and artificial reverberation. Here one can find a correlation between their parameters, the differences in the same excitation signal, compared the algorithmic and convolution with the aftermath of an authentic finish. Chapter Five then goes on to state requirements for artificial reverberation in auralization and also some basic aesthetic categories. The last chapter of this work describes a practical experiment that verifies the validity of the hypothesis replace natural reverberation. Subject experiment is auralization audio samples of an anechoic room and recording studio. The aim of the experiment is to simulate a concert hall reverberation.

In this work we focus on the relation of popular music genres and classical instruments. Using the database searching we find the lists of styles using each of the instruments of symphonic orchestra. For improvement of the understanding the relationship graphs are presented for each instrument. Resulting graphs are printed also for the whole groups of the classical instruments. For all the cases a short analysis of results is given and the styles representing some characteristic usage of the instrument are described in detail. The third chapter groups the experience of the stage performances including the overview of available instruments and technic of sound pickup and the question of incorporating the acoustic instruments to popular music performances is discussed. The last section of the main text describes an approach, which represents one of the ways of enhancing the artificial music by the musical elements characteristic for the popular genres.

This diploma thesis deals with a prominent French composer, organist and pedagogue Olivier Messiaen and his organ works. The first part of the thesis brings relevant biographic information on the composer, overview of his works, compositional inspiration and specifies facets and components of Messiaens?s musical language (rhythm, harmony, melody, forms). In the following part, the focus of the thesis shifts to organ works: not merely to composition techniques but primarily to more thorough analysis of particular sheet music ? not however from the traditional musical-analytic perspective, but rather from outside-of-music, often theological context. The main goal of the thesis is to gain an insight into the core of Messiaens?s composition techniques, inspirations and motivations through the understanding of his music language as well as his life and philosophical perspectives. Uniqueness of this creator will be demonstrated by the analysis of the Gregorian melodies, Bible quotations and liturgical texts of the pieces ?Priere avant la communio? and ?La Nativité du Seigneur.?

This thesis focuses on the piano concertos by Sergei Prokofiev. It is aimed not only at the composer's works for piano and orchestra, but also at the life of this unique artist. It refers not only to the beauty and timelessness of these pieces, but also at the factors behing creating these piano concertos. The work is divided into five main chapters - each chapter includes a piano concerto. I add a brief biography of the composer for better orientation of the reader in a given topic at the beginning.

The thesis deals with the evolution of musical communication, competencies and offers a research method for study of these. In the first chapter, author's background, motivation and the chosen body of music is presented. The second chapter briefly summarizes the development of musical communication and of the main theoretical and research approaches to it in the Western society. The third chapter provides a research method of shared musical communication skills based on Italian scholar Gino Stefani's model of common musical competence. In the fourth chapter this method is tested out on a sample of Czech musically uneducated population to prove wrong the common assumption that only a gifted and musically educated part of society is privileged to participate in the practices of musical communication.

The thesis contains a short introduction which describes the significance of music for human psyche. The focus is further placed on the research of the influence of Mozart?s compositions on students and children. The following chapter brings a concise characterisation of musical imagination, its subtypes and the heightened level of this imagination in musicians. The author is also concerned with the issues of musical aptitude, its basic characteristics, advantages and disadvantages of musical talent and the comparison between the brains of musicians and people of other professions. In the following chapters, the author focuses on the terms absolute pitch and synaesthesia, explicating their meaning, describing their specific features and analysing conditions of their origin as well as possible reasons for their future deterioration. The thesis also addresses the issue of potentially negative influences of music on human psyche, i.e. catchiness of some melodies and musical hallucinations, as well as the issue of dystonia in musicians, its causes and possible methods of treatment. The following chapters describe the effect of the so-called ?phantom hand?, the principle of stereophonic hearing and the consequences of its loss. The conclusion contains a brief summary of the thesis and the reasons behind the choice of this

This thesis is divided into several main parts. The beginning of the thesis outlines the life of Dmitri Shostakovich and his contribution to the music scene. The initial part is followed by an analysis of Shostakovich's 1. Piano Concerto in C minor op. 35 and then as a comparison an analysis of 2. Piano Concerto in G major by Maurice Ravel. The third chapter, entitled "A comparison of two analysed compositions in an overall impression", shows us these works in a broader historical context. The fourth chapter, entitled "Interpretation", is devoted to interpretation and instrumental possibilities of the composition. The very end of the thesis compares the above mentioned two concertos in contrast to the work: The unanswered question by Charles Ives. Appendices of the thesis contain music examples of the analyzed concertos.