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Dissertations / Theses on the topic 'Antonín Dvořák'

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Published: 4 June 2021

Last updated: 25 April 2022

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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.

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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

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2

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

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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

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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.

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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.

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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.

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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.

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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.

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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

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6

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

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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.

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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.

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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.

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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

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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/.

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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

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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.

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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

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11

Rasmusson, Klingberg Hillevi. "Att bli vän med sin nervositet : En studie i mental träning illustrerad via Antonín Dvořáks cellokonsert i b-moll, Op. 104." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3062.

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Detta är en skriftlig reflektion inom konstnärligt självständigt arbete på kandidatnivå som behandlar ämnet nervositet. Studien påvisar att nervositet är kroppens naturliga reaktion på en hotfull situation och hur man som musiker och cellist mentalt kan arbeta med att förbereda sig inför nervösa situationer. Genom Antonín Dvořáks cellokonsert i b-moll Op. 104, sats 1 utforskas tekniska svårigheter med stycket med anknytning till nervositet och provspelningssituationer. Genom att prova ett antal metoder och tankesätt för att motverka prestationsångest samt intervjua en sakku

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12

Velehradská, Barbora. "Písňová tvorba Antonína Dvořáka." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78565.

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Antonín Dvořák belongs among zhe most extraordinary personalities of both Czech and world music kulture and his great international renown has significantly forested the Czech cultural end national prestige growth abroad.His works is honoured, loved, and is influenced mainly by the native Czech environment. Dvořák was composing as a Czech artist and his art is not only great, but also Czech, indeed.Antonín Dvořák was a great personality which influenced not solely the next generation of composers but also many theoreticians and music connoisseurs.He was one of the congenial composers, proof of

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13

Kohoutová, Jana. "Propagace české kultury jako součást veřejné diplomacie v USA." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-194071.

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Public diplomacy has become an integral part of international relations in the recent years. Effective communication is the key in solving international conflicts and in strengthening the partnership between nations. Building an excellent reputation of the individual country among the foreign community has no less importance. This master thesis deals with the promotion of Czech culture as an important part of public diplomacy in the US, particularly in New York, partly in Washington, DC. First and second chapter provide a theoretical framework for the following issues. Basic concept of public

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14

Rockwood, Mark. "Form, Style, and Influence in the Chamber Music of Antonin Dvořák." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22726.

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The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of So

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15

Slimáková, Zuzana. "Ansámbly neobvyklého zloženia v komornej tvorbe Antonína Dvořáka." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78164.

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Anotation The second most personal specialization of Antonín Dvořák is chambre music filled with lots of thoughtful values and precise composing. I have chosen several pieces to write about I consider highly valuable from an enormous amout of his great work. I am not using the elaborate reviews of his work, the aim of this work is more focused on overal overview of Dvořák?s life when he was working on these pieces of chambre music, on the conditions he lived in, during which the world had changed and also certainly affected his work. We can find slovanian features within the whole Dvořák?s w

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16

Gabrielová, Jarmila. "Antonín Dvorák und seine Beziehung zum Verlag Julius Hainauer in Breslau." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16195.

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Soweit es mir bekannt ist, gibt es eher sporadische Belege über die gegenseitigen Beziehungen zwischen Musik und Musikern in Böhmen und Schlesien bzw. zwischen den Hauptstädten Prag und Breslau im 19. Jahrhundert. Zu diesen seltenen Kontakten gehört u. a. auch die ‚Geschäftsbeziehung‘ zwischen dem tschechischen Komponisten Antonín Dvorák (* 8. September 1841 in Nelahozeves, d 1. Mai 1904 in Prag) und seinem Breslauer Verleger Julius Ignatz Hainauer (* 24. November 1827 in Glogau [Głogów], d 26. Dezember 1897 in Breslau).

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17

Smaczny, Jan. "A study of the first six operas of Antonin Dvorak : the foundations of an operatic style." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253290.

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18

Hardy, Meghan C. "A graduate recital in wind band conducting : Serenade in D Minor Op. 44, Antonin Dvor̆ák and Symphony no. 6 (Symphony for band), Vincent Persichetti." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1411.

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19

Nunes, Jorge Armando 1953. "Concerto em Lá Maior para violoncelo : uma visão crítica da recriação da obra de Dvorak por Günther Raphael." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285213.

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Orientador: Emerson Luiz de Biaggi<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T04:39:34Z (GMT). No. of bitstreams: 1 Nunes_JorgeArmando_D.pdf: 40510055 bytes, checksum: 15340895ad61419f735225c78e66fc9a (MD5) Previous issue date: 2014<br>Resumo: Em 1865, quando estava com 24 anos de idade, Dvorák escreveu um Concerto para Violoncelo com acompanhamento de piano que, apesar de ter recebido duas versões orquestrais posteriores à sua morte, permanece até hoje em situação de obscuridade. Escrito em uma época na qual o compos

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20

Sallade, Alexander C. "The Dramatic and Narrative Function of Varied Sonata-Form Structures in Antonin Dvorak’s “Nature, Life, and Love” Overture Trilogy, Op. 91-93." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619093446330827.

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21

Portlová, Ivana. "Antonín Dvořák: Cypřiše (písňový cyklus)." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-289379.

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Dvorakuv prvni pisiiovy cyklus Cypfise je dokurnentern skladatelova prvniho setkini s lyrickYmi basnerni. Dvorak se v pisnich nechava inspirovat jarnbickYm charakterern basni, stavbou techto basni i jejich celkovou atrnosferou. V textu dochazi pn zhudebneni ke zrnenarn (opakovani Ci vynechani slov a versu, vypusteni slabiky Ci zopakovani celeho verse). V nekterych pisnich Dvorak kopiruje strukturu dane basne, nekdy vsak strofy puvodni basne chape jinak. Pisne rnuzerne rozdelit do nekolika kategorif. Prvni kategorii tvon pisne, kde Dvorak ve svern zhudebneni postupuje presne podle struktury bas

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22

Huang, Chien-Chung, and 黃建中. "A Study of “Zigeunermelodien” by Antonín Dvořák." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/e9r2dt.

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23

Kachlík, Jan. "Antonín Dvořák: Moravské dvojzpěvy z hlediska hudebně filologického." Doctoral thesis, 2007. http://www.nusl.cz/ntk/nusl-282274.

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The dissertation is closely related to the project of The New Complete Edition of the Works of Antonín Dvořák. It focuses on research which inevitably has to precede the editorial work on the new critical edition of all 23 Moravian duets: a thorough record of their editorial history, heuristic activity and an assessment of all relevant surviving sources. It is not intended as an introductory text to the new edition of this vocal work, as it does not deal with all issues related to a critical edition. On the contrary, it strives to elaborate a number of topics in greater detail and put them in

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24

Chen, Ying-Ju, and 陳盈如. "The Analysis and Interpretation of Zigeunermelodien by Antonín Dvořák." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/384he6.

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碩士<br>國立臺南藝術大學<br>鋼琴合作藝術研究所<br>106<br>Antonín Leopold Dvořák (1841-1904), the Czech musician of the second half of the 19th Century, wrote a group of songs Zigeunermelodien for the baritone singer Gustav Walter (1834-1910) in 1880. There are two versions of Czech poet Adolf Heyday’s poetry collection Básně (1859) in Czech and German. Dvořák selected seven poems from the German version, and modified the lines to write the music. Dvořák created the work with elements of gypsy folk music and dance, making the harmony and rhythms more interesting. There are five chapters in this thesis. The fi

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25

Kibicová, Tereza. "Antonín Dvořák: Slovanské Rapsodie op.45 B 86 (návrh nové kritické edice)." Doctoral thesis, 2010. http://www.nusl.cz/ntk/nusl-279179.

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26

O'Toole, Julia Rose. "National identity and comedy in Antonín Dvořák's comic operas." Thesis, 2017. https://hdl.handle.net/2144/27176.

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This dissertation examines five distinctly different comic operas by Antonín Dvořák, composed over a period of almost thirty years. I demonstrate ample evidence of their reflecting Dvořák's national identity as well as that of the Czech nation at a time of rising nationalism. I also demonstrate how Dvořák's compositional choices reveal his capacity as a musical dramatist of comic opera. I have examined and analyzed the libretti, full scores, and piano/vocal reductions of the five operas for references to national identity and for comedy. Musical elements such as dance rhythms, orchestral dudy

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27

Ji, Yan-Hung, and 紀彥宏. "The Analysis and Interpretation of Biblical Songs op.99 by Antonín Leopold Dvořák." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/k84b5a.

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碩士<br>國立臺中教育大學<br>音樂學系碩士班<br>103<br>In this study, the author performed a musical analysis and interpretation on the voice-and-piano version of the musical nationalist composer Antonin Leopold Dvořák’s (1841-1904) vocal work Biblical Songs, Op. 99. This song cycle comprises 10 songs. The lyrics for these songs come from the psalms of David from the Old Testament of the Bible. While Dvořák was working in the United States far from his homeland and family, his close friends and loved ones passed away and faced serious illnesses. During this series of setbacks in his life, Dvořák was deeply moved

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28

Lo, Pei-chen, and 羅珮禎. "An Analytical Study of《Piano Quintet in A Major, Op. 81》by Antonín Dvořák." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/wz6f77.

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碩士<br>國立臺南大學<br>音樂學系碩士班<br>100<br>Czech composer Antonín Dvořák (1841-1904) was one of the most representative composers of Nationalism of the 19th century. He wrote compositions of different genres, and his chamber music is among the most significant ones. During his life, he composed two piano quintets, and the second 《Piano Quintet in A Major, Op. 81》 was completed in later years with maturity in styles. This thesis focuses on the analysis of this piece in various aspects. This thesis contains six chapters, the first one defines the scope of the thesis, including the purpose, process, and m

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29

Branda, Eva. "Representations of Antonín Dvořák: A Study of his Music through the Lens of Late Nineteenth-century Czech Criticism." Thesis, 2014. http://hdl.handle.net/1807/65646.

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Commenting on Antonín Dvořák (1841–1904), music critic Václav Juda Novotný declared in 1881 that “a Czech composer has to write, first and foremost, for a Czech audience.” Scholars have given considerable attention to Dvořák’s reception abroad and have shown that his path to success on foreign stages, particularly in Vienna, was not always direct. The composer’s reception in the Czech lands during the late nineteenth century was no less complicated – shaped by various cultural and political factors, as the Czechs sought to assert themselves in the fight for the nationalist cause, while remaini

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30

LIN, MENG-RONG, and 林孟融. "A Study of Selected Pieces from《Slavonic Dance,Op.46 and Op.72》by Antonín Dvořák." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/z8fk84.

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碩士<br>國立臺南大學<br>音樂學系碩士班<br>106<br>Antonín Dvořák(1841-1904) is one of the pioneers of twentieth-century Czech music and is also an important composer of Nationalism in music. His works are rich in national consciousness and impressive style, such as the two sets of 《Slavonic Dance, Op.46 and Op.72》completed in 1878 and 1886 respectively. The two sets are not only widely acclaimed but also make Dvořák internationally renowned. The subject is based on Dvořák 《Slavonic dance, Op.46 and Op.72》and this thesis contains six chapters. The first chapter defines the research aspects of this thesis. The

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31

Myslivcová, Eva. "Koncertní ouvertury Příroda, Život a Láska op. 91-93 Antonína Dvořáka." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-334750.

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The submitted thesis deals with Antonín Dvořák's trilogy of concert overtures Nature, Life and Love, Op. 91-93. After summarising the current state of research in existing literature followed by the overview of music and non-musical sources, the overture - and mainly concert overture - is depicted as a music genre and Antonín Dvořák's overtures are presented in general. Integral element of the thesis is a summarization of circumstances of the given works' origin and thus also putting them into the context of composer's oeuvre. However the focus of the thesis lies in a musical-analytical insigh

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32

Yu, Chen-Wei, and 游貞維. "An Analytical Study of《Piano Trio No.4 in e minor“Dumky”, Op. 90》by Antonín Dvořák." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/chkmfj.

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碩士<br>國立臺南大學<br>音樂學系音樂科教學碩士班<br>103<br>Antonín Dvořák (1841-1904), a major Czech composer of Nationalism. Dvořák had composed numerous chamber works, including six impressive piano trios, and the《Piano Trio No.4 in e minor“Dumky”, Op. 90》was the last piece, completed in 1891. This research mainly focuses on Dvořák's 《Piano Trio No.4 in e minor “Dumky” , Op. 90》. The first chapter defines the research aspects of this thesis. The second chapter provides an overview of Dvořák’s life and compositions of different periods. The third chapter studies Dvořák’s music styles, particularly on chamber

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33

Tsai, Cheng-Chia, and 蔡政嘉. "The Interpretation and Analysis of The Symphony No. 8 in G major, Op. 88 by Antonín Dvořák." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/9gdzu9.

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34

Řehák, Miroslav. "Spiritualita žalmů v kontextu Biblických písní Antonína Dvořáka." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358106.

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Spirituality of Psalms in the Context of Antonín Dvořák's Biblical Songs. The aim of this work is an introduction with general pieces of informations about psalms, about their primary theological scope, about spiritual world and spiritual aspects, because they in fact include the human life in all circumstances. Fundamental commission is to introduce musical work of the czech composer Antonín Dvořák (1841─1904) Biblical Songs. This work includes ten songs. Lyrics of these songs elected Antonín Dvořák himself from the Book of Psalms. This book is a part of the Old Testament. The psalms are not

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35

Mundilová, Anna. "Srovnávací analýza Moravských dvojzpěvů Antonína Dvořáka, op. 32 v provedení vybraných českých sborů." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338612.

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This diploma thesis deals with Moravian Duets op. 32 written by Antonín Dvořák. Including comparsion of manuscript and contemporary edition of notation and comprehensive chapter which analyse recordings of this piece. Recordings are from different types of choirs. They are represented by children's choirs, women choirs and by female component of mixed choirs. Next chapters focus on analysis of each duet from perspective of interpretation, draw attention to difficult parts and gives recommendations for the interpretation. The analysis is mainly focused on the difficulty of interpretation in ter

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Zimányi, Monika. "Josef Suk - významný český houslista 20. století." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-346115.

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This thesis presents personality of Josef Suk, the great violinist of the 20th century, who followed his famous ancestors - Antonín Dvořák and Josef Suk. Describing Master not only as a violinist, but also as a chamber musician, conductor and pedagogue. Besides personality this famous violinist the work pointing on Czech violin school, which he representatived and his quality of playing the violin was on the top of the violin elite on the world. There is describe co-operation with the others artists, who have important place in his life. Excipting Suk's path work undrapes his private and ideas

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Pavézková, Tereza. "Medializace Rusalky - jazyková sémioza opery a muzikálu (komparativní sémiotická analýza)." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-346934.

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In this Master's thesis, I attempt to capture the disparate semiosis of two musical genres - a traditional opera, Rusalka, which has a unique position in Czech national music, and a musical of the same name. On the basis of theoretical findings from semiotics as a science, from the approaches of F. de Saussure, C. S. Peirce and R. Barthes, and by means of semiotic analysis, the thesis unravels semantic elements that are specific for theatrical art. Attention is directed at the symbol as a major tool for semiosis and the classification of symbols on the basis of Peirce's three ontological categ

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Šmídová, Ludmila. "Klavírní koncert g moll, op. 33, Antonína Dvořáka - raná a konečná verze." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-349661.

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Ph.D. Thesis Abstract Piano Concerto in G Minor, op. 33, by Antonín Dvořák - Early and Final Version Critical Edition of the Score // Study about the Origin, the First Printing and the Performance Practice The dissertation is focused on the Concerto for Piano by Antonín Dvořák from 1876 - an outstanding composition not only in the Czech milieu but in all the European context as well - , which was a very long time condemned for its "unsuitable" piano part. The thesis summarizes all existing knowledge of the history of the origins and reception of the Dvořák's Piano Concerto, which is further ve

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Kolátorová, Petra. "Serenáda E dur op. 22 (B 52) a Serenáda pro dechové nástroje op. 44 (B 77) Antonína Dvořáka v kontextu hudebního druhu orchestrální serenády 2." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-396896.

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Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the comp

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Malá, Sandra. "Písňová tvorba Antonína Dvořáka." Doctoral thesis, 2011. http://www.nusl.cz/ntk/nusl-299622.

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This thesis concerns the song cycles Gypsi Melodies op. 55 (1880) and Biblical Songs op. 99 (1894) by Antonín Dvořák. The main question is how the composer musically reads the text and how he represents and further develops its sense. Two musical settings of Adolf Heydukʼs poems Cigánské melodie (1859) are discussed in the first part: At first Gypsi Melodies, a cycle of fourteen songs by Karel Bendl written in 1861-62 and 1875 that also provides context for Dvořákʼs Gypsi Melodies, and then the latter song cycle by A. Dvořák. Both works are analysed in detail and compositional principles of mu

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Klárová, Barbora. "Á capellová tvorba Antonína Dvořáka." Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-269916.

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As a conclusion of this work I will try to sum up the achieved information. The complete list of the compositions belonging to the field of study could be assessed as the first success together with the details of description. Another success was the literal tracing of the newspaper articles concerning the announcements of concerts as well as reviews of those concerts in the then papers. The analyses of the compositions (see chapter No. 5) were important for the deeper insight into the topic; and an interestingly varied perspective of the problems was offered by the special questionnaire (see

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Víšek, Tomáš. "Atraktivita a problematika klavírního díla Antonína Dvořáka." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-357295.

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This thesis endeavours to fill a gap in the specialized literature concerning the interpretation of Dvořák's compositions. His works for piano are often overlooked and marginalized. As this thesis was written at a pedagogical fakulty, it should be suitable as an expert guide for active performers who are interested in Dvořák's piano compositions. However, it will also be useful to those still on their way to discovering these works. There are step by step analyses of all the piano works for two hands. Very detailed musical examples and comparisons aim to bring their compositional beauty closer

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HSIEH, PI-HAN, and 謝璧韓. "A Study of Antonín Dvořák’s Lieder." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/9vh87m.

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碩士<br>輔仁大學<br>音樂學系<br>104<br>ABSTRACT During the second half of nineteenth century, nationalism rose. Musicians started to collect and apply the folk musical materials of their own nationality to compose, particularly, Czech composer Antonín Leopold Dvořák is one the most typical. He absorbed the German musical traditions from Western Europe, and applied ethnic elements of Slavic folk songs, dance music, in his compositions, which makes his repertoire filled with strong Czech musical characteristics. Furthermore, he promoted the Czech music to an artistic level. Zigeunermelodien and Vier Liede

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Grobárová, Dagmar. "Sonatina G dur op. 100 Antonína Dvořáka v pedagogické praxi." Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-273255.

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This Dissertation deals with an analysis of Sonatina G major op. 100 for violin and piano by one of the greatest, 19th-eentury composer - Antonín Dvořák. After a concise introduction, the content is spread to five chapters. Chapter 1 denotes the composer's life and his complex work. Chapter 2 is purely focused on his violin works. Chapter 3 contains formal analysis of Sonatina G major for violin and piano. The dissertation's emphasis is introduced in Chapter 4, where I engage my interest in both the interpretative analysis of the Sonatina G major and the questions from the violin methodology's

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黃德鋒. "The Study and Conducting Interpretation of Antonín Dvořák’s No.8 Symphony." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/19198887783665612914.

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碩士<br>國立臺灣藝術大學<br>音樂學系碩士班<br>99<br>Dvorak’s "Eighth Symphony" is a great work having been frequently performed. Among Dvorak’s symphonies, its popularity is next-best to his "Ninth Symphony". This thesis is focused on the music structure, analysis and the conducting interpretation of Dvorak’s "Eighth Symphony". This thesis is divided into six chapters. The first chapter is an introduction. The second chapter probes into Dvorak's life, his musical style and the creative background of "Eighth Symphony". The third chapter is aimed at analyzing the musical periods and styles of "Eighth Symphony" a

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Ji, Naiyu, and 紀乃宇. "The Analysis of Antonín Dvořák’s Violin Concerto in A Minor, Op.53." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/95821056181889641073.

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"A New Piano Reduction of the Antonin Dvořák Concerto for Cello and Orchestra in B minor Op.104." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57327.

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abstract: The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvořák’s Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the origin

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Chen, Meng-Fen, and 陳孟芬. "The Study and Conducting Interpretation of Antonín Dvořák’s “From the New World” Symphony." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/82067731362353575255.

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Wu, Yi-ching, and 吳依靜. "A Study of Antonín Dvořák’s String Quartet No.12 in F-Major, Op. 96." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/20454073135938733747.

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碩士<br>國立臺南大學<br>音樂教育學系教學碩士班<br>96<br>Ethnomusicology emerged in several European countries in the late 18th century and early 19th century. In that period of time, due to strong nationalism in many countries, artistic activities were strongly influenced by political status, and a large number of nationalistic-influenced program music and folk operas were produced. In that era, there were only few composers interested in composing chamber music, one of whom was Antonín Leopold Dvořák. He devoted himself to chamber music and his works in chamber music were highly recognized and they played a

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Lee, Ming-Yen, and 李明妍. "Analysis of Antonín Dvořák's 〝Poetic Tone-Pictures〞, Op.85 and Interpretation on Nr.1、3、4、7." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/59705404448465803902.

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碩士<br>國立臺灣藝術大學<br>音樂學系<br>97<br>After the famous and successful “Slavonic Dances” for piano four-hands,Dvořák completed “Poetic Tone-Pictures”, Op.85 in 1889, which contains 13 character pieces and represents Dvořák’s most accomplished piano work. This work achieves Dvořák’s past accumulated experiences and skills on compositions, although followed the German-Austria’s musical tradition, it revealed Dvořák’s distinguished Nationaltistic style and piano idiom. The first chapter of this thesis contains the motive, purpose and range of this research. The second Chapter introduces Dvořák’s mu

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