Over the past few decades Classical music, as an established art form, has increasingly struggled world wide as a sustainable industry. The music preferences of the general public have been moving away from the traditional symphonic concerts, and both public and private sponsorships have been diminishing. In South Africa, orchestras moved from fully government subsidised organizations to self-sustaining companies after closure of almost all orchestras in 2000 due to new political leadership and cultural funding redirections. The South African government’s policy on Art and Culture has been completely restructured in the view of the post-apartheid government’s new priorities. The creation of a National Arts Council saw the end of separate provincial art councils and centralized the distribution of private funds. The annual ring-fenced funding for the three orchestras in three different provinces was eventually established. The Department of Arts and Culture realized that funding of all cultural institutions in the country cannot be achieved by government alone and therefore created various companies and trusts, such as National Lottery, to generate additional funding. The private sector is also being encouraged by the ministry to provide assistance and collaborate in supporting of arts and culture. The three full-time orchestras - two established post 2000 - that have persevered in the new conditions and are functioning to this day are KwaZulu-Natal Philharmonic Orchestra, Cape Philharmonic Orchestra and Johannesburg Philharmonic Orchestra. All three had to adapt to new work loads and undergo a difficult transformation into money-earning business way of conducting their day-to-day operations. New concepts for the running of an orchestra, such as budgeting, advertising, planning, audience creation, outreach education, management reconstruction and fund raising, were slowly taken up and old mentalities associated with how orchestras were previously ran were finally discarded. This dissertation describes the status quo and traces the history of South Africa’s orchestras over the past fifteen years. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

Since the Grade 1-9 Curriculum Reform took place in 2001, performing arts curriculum at compulsory education schools of Kaohsiung had faced several difficulties in practice. At the same time, marketing of the performing arts organizations also dropped down due to economic recession. In order to solve the dilemmas of both sides, the researcher thought that a partnership between compulsory schools and performing arts groups is a worthy strategy to try. Two concepts, art education partnership and co-teaching, were used to build up a theoretical framework. It is shown that a successful partnership between a school and a performing arts organization is influenced by many factors. These factors were taken to analyze the cooperative condition happened between the compulsory education schools and the arts organizations at Kaohsiung. Meanwhile, two schools, Kaohsiung Municipal Jiachang Primary School and Kaohsiung Municipal Youchang Junior High School, were chosen as the target cases of this study after a consulting conversation with the Compulsory Education Advisory Group of the Kaohsiung Municipal Department of Education(CEAGK). Members including the school administrative personnel, school teachers, parents and students of both schools were interviewed by selective ways. Taiwan Bangzi Company and the Bean Theatre also contribute their experiences to this study. In addition, observation and document analysis were also used as methods to collect data. Major conclusions are as the following: 1. Full time teachers and appropriate teaching materials are desperately demanded for compulsory education schools at Kaohsiung , unfortunately, even hired teachers has faced job crises at this time. 2. Performing arts groups are aware of the importance to cooperate with schools. 3. Knowing the difficult condition of the performing arts curriculum at school education, the CEAGK adapted strategies to assist teachers improve their skills and employ resources outside schools. 4. ¡§Personal contact¡¨ is a common way to find a partner. No contract was made, but agendas were the only documents for the cooperation. The interview results also reveal that schools need to improve their ways in deliberating the information upon performing arts education partnership. Although to work with schools in educational project is usually the goal for arts organizations, most activities were designed under the ideology of audience development or marketing the coming performance. 5. Both the schools and the performing arts groups respond that ¡§funding¡¨ and ¡§human resource¡¨ are key issues to conquer in dealing with ¡§performing arts education partnership (PAEP).¡¨ 6. PAEP at Kaohsiung is still on the ¡§Exposure Stage¡¨, co-teaching model by an artist and a teacher is still rarely seen. No one has ever attended workshops for the PAEP. 7. Evaluation on the effectiveness of PAEP is still lacked. 8. The PAEP at Kaohsiung was influenced by many factors including policy, funding, key persons, time and the project quality. PAEP should be followed by certain ¡§educational goal.¡¨ At the time of this study, the CEAGK and the performing arts organizations have asynchronous opinions towards the PAEP.

Karel Ančerl 1968-1973. A documentary monograph OBJECTIVES: The main objective of this thesis is to capture and describe the last five years (1968-1973) of life and artistic achievements of the conductor Karel Ančerl. This is a topic which has not been elaborated on an academic level yet. On the beginning of the captured period we find Ančerl to be a prominent member of the Czechoslovak music environment working as the chief conductor of the Czech Philharmonic. At the end of this period, Ančerl permanently lived and worked in Canada as the chief conductor of the Toronto Symphony. This fact is reflected in the two main topics of this thesis. First, there is the theme of process of following a qualitative change which the Toronto Symphony undertook during Karel Ančerl's leadership. Second, there is the relationship of the conductor to the Czechoslovak environment and its musical tradition. Main axis of the thesis is defined by a chronological following of the affairs of Karel Ančerl's life story in the given period. METHODOLOGY: Since the estate of Karel Ančerl has been missing, some of the important - maybe even the most important - documents still remain unknown. The story is being told with the help of supporting sources, just like is the correspondence between Ančerl and Ivan Medek, which covers...

Thesis entitled Educational concerts and its realization in region of Teplice describes the educational concert as a specific type of music production for youth. Characterizes the young audience as the object of the action of receptive music education and focusing on the role of implementers of the concerts. The practical section deals with the implementation of educational concerts in region of Teplice, detailing educational concerts of the Northczech Philharmonic Teplice, carried out in October 2014. The aim of the thesis is to give an overview about the phenomenon of the educational concert and find out the current status of realization of this concerts in the district of Teplice. The personal interviews with the implementers of educational concerts and also author's observation was the main source of knowledge for the practical part. It was found that there are several chamber ensembles operating in Teplice, who hosts concerts in the schools. Educational productions for children and youth are also organized by music school and conservatory of Teplice. North Czech Philharmonic Teplice annually held symphony educational concerts under the direction of guest conductor Milos Machek. Powered by TCPDF (www.tcpdf.org)

The diploma thesis is focused on insurance of art. In the first part of the thesis the chapters contain areas of art which are insured in practice. The paper analyzes insurance of cultural heritage, works of art, musical instruments and cultural events. Each chapter describes the specifics of the areas and the most used kinds of insurance, including practical examples. In the last chapter of the first part I outline the situation abroad and its comparison with the Czech market. As an example, a foreign insurance company has been selected by AXA Art. The second part is devoted to insurance of Czech Philharmonic. It contains links to the orchestra, the historic building and the gallery. Funded organizations of the Ministry of Culture occupy a significant portion of the paper. In this thesis, I do not mention insurance in the film industry.

This project includes a promotional campaign for the Inland Empire / Riverside County Philharmonic as well as the preliminary market analysis for the campaign. The market targeted was well-educated twenty to forty year olds in Riverside, Temecula and Corona.

L'objet de cette thèse est de s'intéresser aux relations entre le compositeur allemand et la Grande-Bretagne. À première vue, cette idée peut paraître surprenante. En effet, Beethoven, compositeur allemand né en 1770, ne foula jamais le sol anglais à l’inverse d’autres compositeurs comme Haydn, Weber et Mendelssohn. Pourtant, ce travail s'efforcera de démontrer qu’une relation véritable s’était établie, qu’elle portait sur de nombreux aspects et qu’elle était mue par un sentiment d'admiration réciproque. En premier lieu, cette thèse s'attachera à définir, d'une part, les origines de l'enthousiasme du compositeur allemand pour la Grande-Bretagne et, d'autre part, les aspects de la culture britannique qui plurent tant au compositeur. Ainsi, la politique, le système parlementaire, la littérature et la musique anglaise furent autant d’éléments sur lesquels Beethoven portait son admiration. Aussi, nous retrouvons le témoignage de cette affection à travers certaines de ses œuvres et inspirations musicales. Ensuite, ce travail de recherche mettra en lumière les mécanismes qui permirent de faire de Beethoven un compositeur célébré dans tout le Royaume-Uni jusqu’à l’ériger en un nouveau héros musical britannique. Par conséquent, ce travail analysera la programmation et la réception des œuvres du compositeur dans tout le royaume et mettra en évidence le rôle du réseau beethovénien à Londres dans la promotion de sa musique. En effet, Beethoven put jouir de l’aide précieuse de deux réseaux : un premier réseau composé d’amis viennois ou étrangers résidant à Londres comme Clementi, Salomon, von Häring, Ries qui le mirent en relation avec un second réseau, composé de Britanniques comme les musiciens Smart, Neate ou l’éditeur Birchall. Ces deux lobbies se retrouvèrent dans l’outil principal de promotion de Beethoven, la Société Philharmonique de Londres, créée en 1813. La thèse démontrera également l'importance des différents aspects contextuels – social, historique et esthétique – favorables à la domination de Beethoven sur la scène musicale britannique. Enfin, ce travail montrera comment la presse fit du compositeur allemand un « citoyen » britannique. Pour terminer, au fil des pages, ce travail tentera de combler une lacune dans les études beethovéniennes, à savoir, l’explication des raisons qui poussèrent Beethoven à abandonner ses projets de visite, pourtant nombreux, en Grande-Bretagne. / The aim of this thesis is to focus on the relationship between the German composer and Great Britain. However, at first glance, this idea may be surprising. Indeed, Beethoven, born in 1770 in Germany never went to Britain unlike other composers such as Haydn, Weber and Mendelssohn. Nevertheless, this study will attempt to show that a true relationship was established, based on numerous aspects and on a reciprocal feeling of admiration. Firstly, this thesis will try to find the origins of the German composer’s enthusiasm for Britain and it will then define the different cultural aspects that were so dear to Beethoven. Thus, literature, music and politics emerge as the different aspects of British culture which the musician admired the most. As a result, it is possible to find tokens of his fascination for Britain through his works. In the same way, this research work will describe the mechanisms which contributed to make Beethoven a celebrated composer in the United Kingdom who, gradually, became the new British musical hero. Thus, this thesis will analyse the concert programmes and reception of Beethoven’s works and it will shed new light on the importance of networks which promoted the composer within the British musical scene. Indeed, Beethoven benefited from the valuable help of two networks: the first was composed of Viennese or foreign friends living in London like Clementi, Salomon, von Häring or Ries, who put him in contact with a second network, a British one with English musicians like Sir George Smart, Charles Neate or publishers like Robert Birchall. Finally, these two lobbies merged together into one of the key elements promoting Beethoven’s music, The Philharmonic Society, created in 1813. This study will also show the importance of the social, musical and esthetical factors which favoured Beethoven’s domination of the British musical scene. It will show how the British press elevated Beethoven to the rank of “British” citizen especially during his agony. Finally, in Beethoven studies, there is a major gap to fill in: the reasons why Beethoven abandoned the different projects of visiting England.

Thesis focuses on designing concert hall in the city of Brno in a district called Brno-město. The main space is the concert hall with 540 seats. The aim was to design a representative building which fulfills all requirements for this typographic public building and where the linkage of beauty and functionality is undeniable a part of the proposal.The proposal is trying to connect architecture with music together. This was achieved by designing dynamic façade with segments which are rhythmically in a movement. The character of the concert hall is stressed by artwork by Alexander Caldera at the main entrance. The emphasis has been put on preserving conceptual idea in the final design since the beginning.

An assignment of diploma thesis was to design a concert hall for Brno Philharmonic. Ten years ago, an architectural competition was held to design Janáček cultural centre on a plot between the streets Veselá and Besední. The winning project was simplified and divided into two parts (underground parking and concert hall). My proposal is based on the planned parking, which finally begins to build in 2015. Shape of the house respects the surrounding buildings. My aim was create the building, which would be functional, urban, beautiful and more economical than the winning project.

The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonc. This study details the introduction of sound tracks, the early studio orchestras, the contact studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonicand the studios, major figures from the subsequent freelance perios such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.