This thesis is dealt with one of the most important domain in preparatory and production works of radio drama - sound dramaturgy. In the first part I systemize sound material from the point of view of creativity focusing on its formative and semantic potential. Then I apply the previous findings considering the radio drama production itself. I distinguish two phase of sound-dramaturge`s work: phase of timeline construction and phase of building up the sound scene. There are many practical examples illustrating my partial conclusions in the thesis as well as contemplations of next radio drama sound dramaturgy development. I suppose this thesis will be a contribution for radio drama theory in the Czech area.

This thesis is focused on the field of art in which there is an organic connection of music/ /sound structure and another types of art. It tries to bring these specific art forms in the context of the area Klangkunst and see them in relation to the broader historical tradition. It tries to answer how the music/sound was interconnected with other types of art, and how this development took place in the 19th century to intermediate art. It explains the key concepts of Klangkunst, especially in their German context, and tries to incorporate them into the Czech context. An important level of the subject is body experience and sensory perception. The work tries to answer the specifics of hearing and visual perception, the synergy of both senses, as in the creation of selected authors the phenomenon of whole-body perception and perception of the work of art through its own movement. Various philosophical and musical insights are divided into categories of space, time and silence, and these categories are explored in the work of selected authors – Heiner Goebbels, Christina Kubisch and Bernhard Leitner. The aim of the analyzes is to show how the perception of these categories is shifting in the context of the traditional composition tradition. In the next part I analyze my own work Hmaty… doteky, which was created by connecting the electroacoustic composition with the inputs of a living artist in coexistence with the artistic and movement action and is a common work of several authors.

This master thesis explores multichannel formats from the perspective of technology, sound dramaturgy and aesthetics. The thesis engages in the historical development of film sound, technical benefits of individual technologies and final mixing. The last part shows interviews with czech sound designers.

This paper analyzes the potentialities of interactive sound design - especially in computer games. It follows the bachelor thesis "Sound Design in Computer Games", which was aimed at the technical aspects of the process. The goal of this paper is to analyze new approaches and possibilities that come with interactive sound design, as well as the impact of these possibilities on viewers or players.

The main goal of this thesis is to describe psychological principles in general, which brings good function of teamwork. For successful leadership of team is very important not only good knowledge of those principles, but one has to know how them apply into specific environment of sound postproduction. The first third of thesis speaks generally about socio-psychological relationships inside team as the unit and describes main principles of its function. Second two third of thesis analyse sound supervisor as a team leader and specify his work activity, for example how he should correctly create team and coordinate it. In next chapters is described specific environment of sound postproduction and is created model of ideal team in the sense of good function. Then, are described differences between temporal and long-lasting teams. By comparing their characteristics with solitaire model of work, one can tell which are the most suitable solutions for environment of sound postproduction. Final comparing of ideal and theoretical model with everyday reality closes whole thesis.

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.

Diploma thesis describes engineering of a music recording and is focused on creative potencial of the discipline. Text covers possible attitudes towards sound design of a musical work and refer that the result is invariably influenced by individual conception and creative vision of the sound engineer. Thesis deals also with music perception in its different forms, recent transformations of music industry, sound aesthetics, dramaturgy, sound image and its qualities. These topics are applied to practical aspect of sound engineering. Thesis is based on author's personal experiences and availabe bibliographical resources.

This thesis offers insight to the issue of subwoolfer amplification in live sound application. The introduction discusses the role of subwoofers in sound practices and the impact of low-frequency spectrum of the human body. It describes a creation of PA system as process of design, construction and final control measurement. In first part thesis deals with principles of connecting several subwoolfer sources to the systems - Arrays. It describes Radiation patterns and evaluates consistency of sound field on low frequency range. Further part of work follow up the application of delay of whole system or its parts, Beam steering. The aim of this work is to evaluate particular systems from practical point of view when used in interiors and exteriors on so called "Open air" venues.

Primary focus of the dissertation is comparison of loudspeaker and headphone reproduction and its influence on the mix balance of classical music recordings. A listening test, which represents an essential part of the thesis, was performed on a test group of sound engineers who prepared mixes of selected recordings using both loudspea-kers and headphones. An analysis of the resulting mixes was performed to find out if any systematic changes could be detected between headphone and loudspeaker mixes. The results disclosed a systematic change in preference of reverberation. Individual approaches of the sound engineers are documented by an extensive graphical section of the thesis. Level of stability of the individual models has been examined using repeated testing on selected participants. Selected headphone and loudspeaker mixes have been further evaluated by a listening group in a second listening test. Differences between the mixes were judged using both loudspeakers and headphones. Answers of the participants were analysed to see if there was an increased preference of headphone mixes when judged using headphones and vice versa. The results didn't show significant preference changes based on type of reproduction. The selected mixes weren't found to be "more optimal" when listened to on their respective reproduction device, nor could they be identified based on the subjective preference test. A special part is devoted to evaluation of an internet-based survey featuring a statistical documentation of loudspeaker and headphone usage in todays music recording industry. Special look has been taken at the group of respondents who indicated classical music as primary music genre of their profession. Another theoretical part of the thesis covers the artistic and technical approach of sound engineers to classical music sound image creation, including commonly used technical resources and stylization methods.

In this theoretical thesis I want to explore the interaction of theater and film. I do not want to be preoccupied with "filmed theater", but only with film adaptations of theatrical productions. Dramatic works became really often template for films, but what leads the creators of the movie to film the specific theatrical productions? How will the filmmakers be affected by existing artwork, and which path to take when theater and film have so many different ways of expression? What has the movie theater to offer, and what the film is able to borrow, take, or transform? And in this case,are there any rules?