Relevant bibliographies by topics / Antonín Dvořák

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Antonín Dvořák'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Antonín Dvořák.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Antonín Dvořák"

1

Pines, Roger. "Rusalka. Antonín Dvořák." Opera Quarterly 7, no. 3 (1990): 148–50. http://dx.doi.org/10.1093/oq/7.3.148.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gabrijelova, Jarmila. "Antonín Dvořák and Richard Wagner." Muzikologija, no. 6 (2006): 305–16. http://dx.doi.org/10.2298/muz0606305g.

Full text
Abstract:
The essay deals with the relation of prominent Czech composer Anton?n Dvo??k (1841?1904) to the personality and work of Richard Wagner (1813?1883). As opposed to the common opinions linking Dvo??k?s name with Wagner?s ideological opponents and placing his ?Wagnerian? period in the early phase of his career only, our examination shows that Dvo??k?s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life.
APA, Harvard, Vancouver, ISO, and other styles
3

Brambilla, Edemilson Antônio. "Intermidialidade músico-literária em Luiz Antonio de Assis Brasil: aproximações entre O inverno e depois e o Concerto para violoncelo e orquestra." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 36 (2021): 270–86. http://dx.doi.org/10.12957/palimpsesto.2021.60137.

Full text
Abstract:
Este estudo possui como objetivo compreender a presença da intermidialidade no romance O inverno e depois, de Luiz Antonio de Assis Brasil. O autor parte de relações entre o universo literário e o musical para construir sua narrativa ficcional, onde o Concerto para violoncelo e orquestra, do compositor checo Antonín Dvořák, torna-se a base influenciadora da estrutura romanesca construída por Assis Brasil. Nesse sentido, buscamos evidenciar como os aspectos musicais que compõem essa primeira mídia (o concerto), são utilizados para a construção da segunda mídia (o romance assisiano), uma vez que
APA, Harvard, Vancouver, ISO, and other styles
4

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

Full text
Abstract:
If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these
APA, Harvard, Vancouver, ISO, and other styles
5

Vejvodová, Veronika. "Antonín Dvořák in the Notes of the Traveller Josef Kořenský and Czech Society in America in 1893." Musicalia 11, no. 1-2 (2020): 114–49. http://dx.doi.org/10.37520/muscz.2019.004.

Full text
Abstract:
The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ’80s and in New York, where the two men met in late May and early June of 1893. There is a detailed description of the voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořá
APA, Harvard, Vancouver, ISO, and other styles
6

Campo-Bowen, Christopher. "Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music." 19th-Century Music 40, no. 2 (2016): 159–81. http://dx.doi.org/10.1525/ncm.2016.40.2.159.

Full text
Abstract:
Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and
APA, Harvard, Vancouver, ISO, and other styles
7

Kudláček, Petr. "The earliest recordings of the works of Antonín Dvořák on standard gramophone records in the collection of the Antonín Dvořák Museum." Musicalia 11, no. 1-2 (2020): 150–74. http://dx.doi.org/10.37520/muscz.2019.005.

Full text
Abstract:
The article deals with a selection of standard gramophone records from the holdings of the National Museum – Antonín Dvořák Museum. The criteria for the selection were the age of the recordings, the material used for making the discs (shellac), and the recording method mechanical). Analysis of the identification marks on the labels served for determination of the time (the recordings in question were made between 1903 and 1916) and place of their origin. Further research on historical perspectives and repertoire is adding to our knowledge about the lives of Czech opera singers (e.g. Bohumil Pt
APA, Harvard, Vancouver, ISO, and other styles
8

Jung, Hermann. "Towards a Characterization of the Symphonies of Zdeněk Fibich and Antonín Dvořák." Musicologica Olomucensia 12, no. 1 (2010): 151–61. http://dx.doi.org/10.5507/mo.2010.019.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Beckerman, Michael. "The Real Value of Yellow Journalism: James Creelman and Antonín Dvořák." Musical Quarterly 77, no. 4 (1993): 749–68. http://dx.doi.org/10.1093/mq/77.4.749.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Johnson, Janet. "Review: Antonín Dvořák: Symphony from the New World. CD-ROM (Macintosh) by Robert Winter." Journal of the American Musicological Society 49, no. 1 (1996): 114–26. http://dx.doi.org/10.2307/831955.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Antonín Dvořák"

1

Žárová, Hana. "Antonín Dvořák - Rusalka." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79116.

Full text
Abstract:
This thesis describes works and life of one of the most important Czech composer of the 19th century - Antonín Dvořák. This work focuses on Dvořák ś musical legacy and especially on his opera work ´s. It also describes briefly life and works of au outstanding poet and librettist Jaroslav Kvapil and his later co-operation with Antonín Dvořák with whom Kvapil worked on the opera "Rusalka". The most extensive chapter of this thesis focuses on a detailed analysis of the content and of the musical dramatic composition of "Rusalka". The last part of this work describes the circumstances of the first
APA, Harvard, Vancouver, ISO, and other styles
2

Döge, Klaus. ""... über den wird noch viel geredet werden"." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219111.

Full text
Abstract:
Die Jubiläen zu Antonín Dvořák haben sich Anfang der 1990er Jahre gleichsam überschlagen. 1991: 150. Geburtstag des Komponisten; 1992: 100jähriges Gedenken an den Beginn von Dvořáks dreijährigem Wirken in Amerika; 1993: 100jährige Wiederkehr seines Besuches in Spillville (Iowa) und zugleich 100 Jahre Sinfonie aus der Neuen Welt. Gedenkfeiern, Symposien und Kongresse an vielen Orten der Welt (New Orleans, Saarbrücken, Hamburg, Dobříš, Spillville) und zugleich eine Vielzahl von Impulsen für das internationale wissenschaftliche Interesse an diesem tschechischen Komponisten, das in zahlreichen neu
APA, Harvard, Vancouver, ISO, and other styles
3

Hrbáčková, Noema. "Antonín Dvořák s jeho písňová tvorba se zaměřením na písně milostné." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78568.

Full text
Abstract:
This work deals with song works of the famous czech composer Antonín Dvořák. The first chapter includes short autobiography and composition style of this music personality. The main part of this work includes his songs, first of all cycle "Love Songs op. 83". I tried describe the most important moments and technical problems of interpretation.
APA, Harvard, Vancouver, ISO, and other styles
4

Sup, Tomáš. "A.Dvořák"Rusalka" práce na hlavní roli." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202909.

Full text
Abstract:
The tenor figure of princ, three-act opera, " Rusalka" by Antonín Dvořák, was a long time with its character, singing difficulty and technical extremity , a big challenge for me. So l decided after two years of studying this role, write a magister thesis about princ, think about his character and its overall by the creation from the very beginning to the hardest singing party at the end of the opera.
APA, Harvard, Vancouver, ISO, and other styles
5

Döge, Klaus. ""... über den wird noch viel geredet werden": ein Einblick in die neuere Dvořák-Literatur." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 217-230, 1997. https://ul.qucosa.de/id/qucosa%3A15327.

Full text
Abstract:
Die Jubiläen zu Antonín Dvořák haben sich Anfang der 1990er Jahre gleichsam überschlagen. 1991: 150. Geburtstag des Komponisten; 1992: 100jähriges Gedenken an den Beginn von Dvořáks dreijährigem Wirken in Amerika; 1993: 100jährige Wiederkehr seines Besuches in Spillville (Iowa) und zugleich 100 Jahre Sinfonie aus der Neuen Welt. Gedenkfeiern, Symposien und Kongresse an vielen Orten der Welt (New Orleans, Saarbrücken, Hamburg, Dobříš, Spillville) und zugleich eine Vielzahl von Impulsen für das internationale wissenschaftliche Interesse an diesem tschechischen Komponisten, das in zahlreichen neu
APA, Harvard, Vancouver, ISO, and other styles
6

Gabrielová, Jarmila. "Die Neue Gesamtausgabe der Werke Antonín Dvořáks. Stand und Perspektiven." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71956.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Jamník, Tomáš. "Violoncellové koncerty Antonína Dvořáka." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253655.

Full text
Abstract:
The first part of the dissertation examines all of the orchestrated versions of Dvořák's Cello Concerto in A major.The analysis is based on graphs, which show the cuts in every version. The work of Günter Raphael and Jarmil Burghauser's version are looked at in close detail. The second part of the dissertation analyses tempo changes in all of the Czech recordings of the concerto. Original graphs show the differences between tempo marks in the autograph version and in recordings.
APA, Harvard, Vancouver, ISO, and other styles
8

Grešlová, Alena. "Klavírní koncert Antonína Dvořáka." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-363547.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
9

Tang, Wen-Chien. "Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30516/.

Full text
Abstract:
Since its premiere in 1878, Antonín Dvořák’s Piano Concerto in G Minor has been underrated and held in low regard by musicologists, critics, performers and audiences alike. Vilém Kurz (1872-1945), a Czech pianist and pedagogue, revised and reworked the piano solo part to incorporate what he considered to be added brilliance and pianistic effectiveness. However, the revised version has not increased the popularity of the work. In recent decades, this concerto has begun to appear more often in the programs and recordings are currently available, utilizing either the original piano part or Kurz's
APA, Harvard, Vancouver, ISO, and other styles
10

Bogner, Ryan. "A study of the factors that influence compositions of common texts with an emphasis regarding the text of Te Deum settings by Antonín Leopold Dvořák and Franz Joseph Haydn." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/9096.

Full text
Abstract:
Master of Music<br>Department of Music<br>Joshua Oppenheim<br>Julie Yu Oppenheim<br>The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief descripti
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Antonín Dvořák"

1

Jelen, Josef. Antonín Dvořák. Nakladatelství L, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dvořák, Otakar. Můj otec Antonín Dvořák. Knihovna Jana Drdy, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Burghauser, Jarmil. Antonín Dvořák: Life and work. KLP, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Döge, Klaus. Antonín Dvořák: Leben, Werke, Dokumente. 2nd ed. Atlantis Musikbuch-Verlag, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Strejc, Zdeněk. Antonín Dvořák and his operas. Dilia, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Philippe, Simon. Antonín Dvořák, ou L'effusion lyrique. Editions Papillon, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Thirion, Annie. Antonín Dvořák: Sa vie, son oeuvre. Graffikka, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Burghauser, Jarmil. Antonín Dvořák, thematický katalog =: Thematisches Verzeichnis = thematic catalogue. 2nd ed. Bärenreiter Editio Supraphon, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Hoffmann, Hans. Aus der Neuen Welt: Antonín Dvořák und seine Zeit. Amalthea, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Burghauser, Jarmil. Antonín Dvořák, 1841-1904: Life and work = Leben und Werk. Divadelní ústav, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Antonín Dvořák"

1

Döge, Klaus. "Dvořák, Antonín." In Komponisten. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_17.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Döge, Klaus. "Dvořák, Antonín." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_87.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Döge, Klaus. "Antonín Dvořák." In Kammermusikführer. J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_32.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Paclt, Jaromír. "Dvořák, Antonín (Leopold)." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_91.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Krigar, Hermann. "Antonín Dvořák: A Biographical Sketch." In Dvorak and His World, edited by Michael Beckerman. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.211.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Beckerman, Michael. "The Master's Little Joke: Antonín Dvořák and the Mask of Nation." In Dvorak and His World, edited by Michael Beckerman. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.134.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Botstein, Leon. "Reversing the Critical Tradition: Innovation, Modernity, and Ideology in the Work and Career of Antonín Dvořák." In Dvorak and His World, edited by Michael Beckerman. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kasper van, Kooten. "Dvořák, Antonín." In Encyclopedia of Romantic Nationalism in Europe. Amsterdam University Press, 2015. http://dx.doi.org/10.5117/9789462981188/ngcj4y26pdzu4npxvd3y4jbm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Shadle, Douglas W. "Antonín Dvořák, Bohemian Prophet." In Orchestrating the Nation. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199358649.003.0013.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Shadle, Douglas W. "The Fiery Debate." In Antonín Dvořák's New World Symphony. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0006.

Full text
Abstract:
About eight months after Antonín Dvořák became director of Jeannette Thurber’s National Conservatory of Music in New York, he weighed in publicly on the question of American musical identity and argued that African American vernacular music (or “negro melodies”) should become the foundation of a national classical style. The New York Herald, which first printed his remarks, stoked a months-long debate that exposed deep-seated anti-Black racism throughout the country’s classical music industry as many musicians rejected the Bohemian’s suggestions outright. Dvořák remained supportive of African American music and musicians but did not fully understand the political implications of his positions.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Antonín Dvořák' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography