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Vaňáč, David. "Leoš Janáček -operní dílo." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96825.
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This master´s thesis refers about life and work of Leoš Janáček and also on the other hand about his music works. Janáček´s whole life is also mentioned for better understanding of him, his personality and his own music. Leoš janáček´s opera performances are viewed there in three ways - in the view of circumstancesof its origin, in the view of its content and in the view of enumeration of scenic cast of singers during the appearance of his performances in Brno and Prague.
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Kružík, Robert. "Leoš Janáček : Glagolská mše." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-253708.
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Works of Leoš Janáček were always very close to me. I grew up listening to them , when I was a child I listened to his operas many times in the Janáček Theatre, where my father worked for years. I was therefore very excited to delve myself into the work of the Glagolitic Mass, and I am also sure that it is very good material to write a thesis. In the main part of this work I´m going to focus on comparing different interpretive approaches, because we can interpret Janáček´sworks in many different ways and it is hard to determine which is the right one. Me as a native of Brno, i inclined to the "Brno" tradition of interpreting master´s works. I´m very curious about all the different interpretations, above all Sir Charles Mackerras, who is credited with promoting the Janáček music in the world.
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Kyovská, Šerých Mlada. "Leoš Janáček - operní tvorba." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-358375.
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This thesis addresses two principal operas by composer, Leoš Janáček. These are Jenůfa (1903) and The Cunning Little Vixen (1923). The author’s inspiration sources and the method of processing the selected subject are introduced herein. In both operas, L. Janáček is also the author of the libretto, which forms a link between these pieces. The information is drawn from ample Janáček literature and, of course, from music papers. The direction’s point of view is based upon the gained information regarding the pieces and upon the examination of some performance interpretations. With this thesis, I have verified that a thorough familiarity with the work is an absolute necessity for one’s own direction intention. It leads to realize the fact that one can create various interpretations of one piece when having a deep and stable understanding of it.
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Jiříková, Linda. "Leoš Janáček: Káťa Kabanová - kostýmní výprava." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78667.
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Klecker, Jakub. "L. Janáček: Svita z opery Příhody lišky Bystroušky." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78849.
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My diploma work focuses on several interesting aspects of the Janáček-SUITE from the opera The cunning vixen. In the first chapters we can learn about the origins of the whole opera. The suite is analyzed from the historical point of view as a musical form that developed and changed in each typical period in some way.
The core of my work builds upon the analysis of three versions of the piece ? the ones of Talich, Jílek and Mackerras, which together with Jílek´s version respects Janáček´s original. Talich on the contrary embarks in a new instrumentation which becomes a different composition. I can see the differencies between the particular scores especially in the field of thematic material, the orchestra-cast, part and also in tectonic, metric, dynamic and movement field.
Important parts are shown in several picture examples. Lastly I present three records for comparison that I try to describe from a musical reviewer´s point of view.
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Blahunek, Václav. "Leoš Janáček: Symfonietta, geneza a interpretační problémy díla." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78850.
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Genesis and interpretative problems of the Sinfonietta by Leoš Janáček. This graduation these in the first part describes last creative period of Leoš Janáček in relation to Sinfonietta. View is sighted particulary on military environment and Janáček´s contacts and inspirations by military music. The second part solves some interpretative problems of Janáček´s Sinfonietta, especially tempo, sound proportional,rhythmical and aesthetical diffuculties. The latest chapter comparisons twelve different recordings of the Sinfonietta performed by Czech and abroad orchestras and describes interpretative conceptions of twelve outstanding condurctors.
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Easey, Jonathan Norman. "Pentachordal configurations in two late works by Leoš Janáček." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43639.
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Modern research on the work of Leoš Janáček is often focused on elements that are explored in Janáček’s own theoretical writing: techniques of text-setting, speech rhythm, organicism, and narration. This scholarly preponderance is important, because it brings Janáček’s own work in music theory to the fore, but it has also become prohibitive because Janáček’s theories have drawn scholars’ attention away from more focused, detailed analysis of his music.
This study represents a refocusing of the analytical lens. In it I examine the pitch materials of two of Janáček’s works from the 1920s: the first movement of String Quartet no. 1 and an aria from Z Mrtveho Domu (From the House of the Dead). My examinations show that Janáček, in addition to being in the vanguard of developments in text-setting and speech rhythm, was also innovative in his deployment of pitch collections and his manipulation of standard tonal procedures. Indeed, my examination aims to show that Janáček’s use of pitch collections itself represents a skillful manipulation of tonality. By isolating and reflecting on the properties of particular intervals and groups of intervals, Janáček is able to craft his own unique brand of tonality that eschews many of the characteristics and hierarchies of standard practice.
In the quartet we see Janáček developing motivic material based on a pentachord formed by the motives of the opening bars. This pentachord and its intervallic subsets have interesting properties which Janáček then illustrates through the motives’ deployment in the movement. The tonal allusions in the piece are all drawn from triadic relationships contained in the pentachord and its derivations.
In the opera aria Janáček utilizes pentatonicism to establish a juxtaposition of semitones and perfect fifths – the only two intervals that can generate the totality of twelve-tone pitch space. Because both of these intervals generate pitch spaces which utilize all of the twelve pitch classes, they share a unique isomorphism which emerges from Janáček’s deployment of pentatonic pitch collections and which is explored here from both analytical and theoretical perspectives.
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Mikeš, Jan. "Leoš Janáček: Kvarteto II "Listy důvěrné", dílo a interpretace." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78726.
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Second string quartet was written in the highest creative period of Janáček´s output. It was written 1928 few month before composer´s death. It describes feelings and passion of love to Kamila Stösslová ( Janáček´s gerlfriend). First interpret of this work was The Maravian quartet.Second string quartet belongs to the best of works of 20. century written for string quartet.It accomplishes principles of modality, folk elements, tectonic etc.It wasn´t published until 1938. Smetana, Janáček and Vlach quartets are our chief ensembles. We can admire their interpretative art from fifties of 20.century. My work also compares recordings of Smetana quartet from 1976, vlach quartet from 1969 and Janáček quartet from 1963.These recordings are demonstrations of high interpretative art of our prominent quartet ensembles. Smetana quartet stand out at excellent interplay, tuning, intonation, sence for whole buiding of phrases, Janáček quartet at compactness of the sound, elaborations of details, long sites and Vlach quartet at accomplished sensibility for colours of sound and mood.
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Karásek, Jan. "Leoš Janáček, Její pastorkyňa v pražské a plzeňské inscenaci s důrazem na roli Kostelničky." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253770.
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In my dissertation, I deal in detail with the opera Jenufa from the composer Leos Janacek and the librettist Gabriela Preissova. In the chapter the fourth and the fifth, I aim my interest to elaboration of this opera in the Theatre J. K. Tyl in Pilsen and in the National Theatre in Prague. In next chapters, I reworked my personal interview with one of the czech leading opera singer Eva Urbanová, which performed in many productions as main character Kostelnicka. I would like to convey deep experience of Urbanova's understanding of the character and of Janacek at all for the readers of this dissertation. At the end of my dissertation, I summarize Pilsen and Prague production with the conclusion that Prague production is much better not only in directing treatment but also in the music cast.
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Bek, Josef, and Mikuláš Bek. "Der Weg eines Brünners von Prag nach Wien: Janáčeks Její pastorkyňa im Lichte der Korrespondenz zwischen der Universal Edition Wien und dem Komponisten in den Jahren 1916 - 1918." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15965.
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Die Herausgabe von 62 Briefen der Universal Edition an soll also diesen vorbereitenden Prozess der Anerkennung Janáčeks in der Nachkriegszeit beleuchten sowie die Transformation von Janáčeks Werk. Diese Seite der Korrespondenz wird hier zum ersten Mal veröffentlicht.
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Majkut, Martin. "Slovak Influences in 20th Century Music as Represented in Selected Works of Bartók, Janáček and Novák." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193927.
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The goal of this document is to demonstrate how Slovak folk music inspired creation of some early 20th century chamber, orchestral, and vocal-instrumental compositions. In examples drawn from works of Vítězslav Novák, Leoš Janáček and Béla Bartók the author analyzes the different ways of translating folk music idioms into the compositional language of these composers. The first of the introductory chapters presents an outline of distinctive features of Slovak folk music. It talks about the role of folk song in the life of Slovaks and its connection to social events in the villages. It also analyzes the relationship between language and music. The coexistence of modal and tonal music is emphasized and songs are divided into historical periods. In the second part of the introduction an historic overview of the influence of Slovak folk music in classical music is given. The chapter covers the first known occurrences of this influence in the collections of songs and dances from the Baroque era and the occasional references in the Classical and Romantic music. The impulses behind the wave of interest in Slovak folk music in the 20th century are also examined. The first chapter documents the influence of Slovak folk music on Vítězslav Novák. It describes his early career and his first encounters with Slovakia. The central part of this chapter consists of analysis of the symphonic poem In the Tatras, a work inspired by Slovakia and containing Slovak music references. The second chapter of this document is devoted to Leoš Janáček. His multifaceted approach to folk music included an intimate knowledge of people’s lifestyle, traditions, local dialects and speech patterns. The fruit of his research is documented in the song collection 26 Folk Ballads. The majority of these arrangements for voice and piano are of Slovak origin. The final chapter examines the personal and artistic ties of Béla Bartók to Slovakia. Bartók employed folk music elements in his compositions with a genius which made him a master of such compositional approach. The variety of ways by which Bartók used Slovak folk music is scrutinized in the analysis of Three Village Scenes.
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Streibl, Mirijam Dagmar [Verfasser], Michael [Akademischer Betreuer] Stegemann, and Holger [Akademischer Betreuer] Noltze. "Das 1. Streichquartett von Leoš Janáček : Das Werk im Kontext von Inspiration und Schaffensprozess / Mirijam Dagmar Streibl. Betreuer: Michael Stegemann. Gutachter: Holger Noltze." Dortmund : Universitätsbibliothek Dortmund, 2013. http://d-nb.info/1099438780/34.
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Streibl, Mirijam D. [Verfasser], Michael [Akademischer Betreuer] Stegemann, and Holger [Akademischer Betreuer] Noltze. "Das 1. Streichquartett von Leoš Janáček : Das Werk im Kontext von Inspiration und Schaffensprozess / Mirijam Dagmar Streibl. Betreuer: Michael Stegemann. Gutachter: Holger Noltze." Dortmund : Universitätsbibliothek Dortmund, 2013. http://d-nb.info/1099438780/34.
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Gill, Rebecca. "The nineteenth-century aesthetics of violin composition in bohemia and moravia: a comparison of the repertoire for violin and piano by Antonín Dvořák and Leoš Janáček." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10429.
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This thesis examines the works for violin and piano by Leoš Janáček and Antonín Dvořák to uncover aspects of compositional aesthetic which can inform the interpretative process of a modern performer. Theoretical focus on works broadly considered as the composers’ definitive compositional masterpieces, has meant that works deemed ‘less important’, including much of the repertoire for violin and piano, have been denied an equivalent depth of analysis. Many forms of analysis provide only a limited insight for a performer who seeks to establish a well-founded understanding and replication of the particular aesthetic within which a composer worked or a composition was created. By using aspects of phenomenological analysis, stemming from the work of Husserl, Clifton and Kerman, this study seeks to engage with the nature of music as an ‘experienced phenomenon’ and consider how “musical meaning arises from the view of music as a participatory aspect of a lived-in-world.”1 Therefore, the analysis of these works is closely linked to the exploration of the Czech violin aesthetic from a historical and cultural viewpoint. Examination of the relationship between Dvořák and Janáček and their major personal and professional influences frames the discussion of their compositional processes. The nature of this analysis is peculiarly relevant to issues of violin performance with the aim of establishing what is idiomatic in the violin writing of Dvořák and Janáček and how best to bring this to the surface in performance. By examining works from a similar period and in a similar form, the unifying and contrasting features of these works have been identified and further articulated and used to compare the features of Dvořák and Janáček’s aesthetic of writing for violin and piano.
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Veselý, Adam. "Hudba jako veřejný prostor – Nový koncept brněnské Filharmonie." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2015. http://www.nusl.cz/ntk/nusl-216118.
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Entering this thesis was to design a building for the Brno Philharmonic. Brno Philharmonic is still housed in the Fellowship House, which for this purpose does not. Place for the design of the new building of the Brno Philharmonic Orchestra was chosen plot where the current parking lot, which is close to the Guildhall. In 1992 he founded the Association for the construction of a concert hall, which has since been seeking to build Janáček Cultural Centre. Concert hall with excellent acoustics, which is missing in Brno. The first attempt was in 1989, when it was announced architectural competition for a new building project was just prior to the commencement of construction works dropped. In 2003, the Statutory City of Brno announces an urban-architectural competition for the design of the building Janáček Cultural Centre, whose subject was the urban design of the entire area between the streets Besední, cheerful and Hotel International. Entering the competition was also the draft annex of the hotel International. The reasons for choosing this property was the strongest ties to the Meeting House., Position in the city center in a neighborhood with other major institutions, well-connected to public transport, the opportunity to realize the capacity underground parking. This year were started construction work on this place that has become a new building. The overall implementation takes place in two stages. In the first phase are carried out underground three underground floors used for parking. In the second phase confronts Janáček Cultural Centre. This competition for JKC winning studio M1. In the first round of the competition envisaged the demolition substation at the International Hotel and expanding the plot. In the second round it was only a plot parking spot without significant interference with the surrounding space. This version is valid to this day.
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Truhlářová, Jana. "Hudba jako veřejný prostor – Nový koncept brněnské Filharmonie." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2015. http://www.nusl.cz/ntk/nusl-216171.
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The locality is situated on the Veselá street in the historic centre near to Besední dům – the main seat of the Brno Philharmonic Orchestra. The site adjacent to the unfinished housing estates was chosen in a competition authority in 2003 primarily thanks to the position next to Besední dům. I tried to create a variant solution which could offer insight into the issue. The aim was to design a functional, operationally and economically less demanding object where the hall has excellent acoustics for classical orchestral music with a capacity of about 1000 visitors.
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Fikejs, Oldřich. "Alternativní návrh koncertního sálu v Brně - Janáčkovo kulturní centrum." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2013. http://www.nusl.cz/ntk/nusl-215960.
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The Brno Philharmonic is renowned all over the world from London to Tokyo, but in its home town only has a small hall with poor acoustics not suitable for symphony concerts. The efforts to construct a worthy cultural venue to meet the needs of Brno go back to the interwar period and their implementation is still not in sight.The core of the project is a concert hall with capacity of 1,812. Its layout combines the advantages of standard shoebox-shaped halls and surround halls, because the best music experience gets the viewer who is quite close to the orchestra. The disadvantages of the former include poor contact with the orchestra in the rear seating, the latter sacrifice acoustical excellence mainly in the side and rear seating areas for audience proximity and visual stimulation. The building is composed of three functionally distinct parts: the audience’s part, musicians‘ background and technical equipment. The operation of each is placed in a horizontal part of a L-shaped solid. The vertical parts face each other creating a raised central cube containing the concert hall.
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Macurová, Lenka. "Hudba jako veřejný prostor – Nový koncept brněnské Filharmonie." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2015. http://www.nusl.cz/ntk/nusl-216172.
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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.
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Langer, Jaromír. "Posouzení provozuschopnosti nově zaváděných letounů na regionálních letištích středoevropského regionu." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2014. http://www.nusl.cz/ntk/nusl-231642.
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This thesis describes a two of newly introduced types of aircraft (Boeing 787 Dreamliner, Boeing 737 MAX) and compares the operating characteristics of the operational aspects of the airports of the Central European region.
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Harris, J. "Music as drama in Janáček's Věc Makropulos." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603755.
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Using 'music as drama' as a starting point for a thesis on an operas by Janáček directly confronts two challenging issues. First, the literature on Janáček is very one-sided. The overwhelming majority of writers emphasise Janáček's realism, and a significant portion go so far as to question seriously the extent to which he is a 'good dramatist'. Second, the concept of 'music as drama' has been used as one of the central ways of canonising opera, especially since Wagner. The notion of an operatic canon is something of a critical anomaly, and is inherently biased not only in terms of the works it extols but also in the type of things it encourages us to look for in opera. As a composer who stands apart from the 'mainstream' as it is generally understood, and as a composer whose operas span the cusp of nineteenth and twentieth-century styles, analysts find it doubly difficult to approach Janáček's music. This thesis approaches Janáček's penultimate opera, Věc Makropulos, from the point of view of a multimedia model. Although it uses Nicholas Cook's work on this subject as a background, it is developed as a method of exploring this particular work and is self-consciously designed to be as specific to that work as possible. The intention is to redress the imbalance caused by the lacunae in Janáček criticism. Separate analysis of the different parameters that go together to make up the opera are presented, followed by an analysis of how they interact with one another. It becomes apparent that the different parameters have competing, contrasting and sometimes even conflicting claims on the attention. The multimedia model enables an analysis that follows the intermittent nature of each of the parameters involved, and is able to trace and to theorise the aesthetic effect of a theatrical presentation where the attention is continually transferred from one parameter to the next.
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Pěchočová, Jaroslava. "Kompletní sólové a komorní kllavírní dílo Leoše Janáčka." Doctoral thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78226.
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Janacek´s artistic growth and possible influence of other composers on his work are discussed in the fuirst chapter. The second chapter reviews the fundamental structural components, style and expressiveness of Janacek´s piano compositions.
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Bragagnolo, Michal. "Práce na roli Aljeji v opeře Z mrtvého domu od L. Janáčka." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391648.
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This Master´s thesis titled „Working on the character of Aljeja in opera From the house of the dead is intended to familiarize the reader with the author´s work on the role – play in the staging of the opera From the house of the dead. It also shows the reader how such preparation of the singer should ideally look like.
The autor focuses on Leoš Janáček and also on circumstances that influenced his work. The author also describes the whole proces of rehearsing – singing staging, stage rehearsing and rigours of this creative proces.
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Žantovská, Murray Irena 1946. "Sources of cubist architecture in Bohemia : the theories of Pavel Janak." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60057.
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The sources of the theories underlying Czech Cubist architecture before World War I have been only sketchily studied to date. To analyze these theories and identify their sources, I focus on the work of architect and theorist Pavel Janak (1882-1956), an early proponent of Cubist architecture in Bohemia. The thesis incorporates my translation of Janak's unpublished journal for 1911-1914, the dominant years of Czech Cubism. Through this journal and Janak's published writings, together with an examination of his own readings, I trace the development of his theories, and situate his sources, within their historical context. Janak was no mere imitator of French Cubism but was concerned to develop innovative architecture that yet possessed both historical continuity and universal validity, thanks to its space-creating qualities.The thesis includes a facsimile of Janak's journal with its numerous sketches, a translation en face, and a complete bibliography of his sources.
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Krajciova, Jana. "A study of J. S. Bach’s Toccata BWV 916, L. van Beethoven’s Sonata op. 31, no. 3, F. Chopin’s Ballade, op. 52, l. Janáček’s In the Mists, I, III; and S. Prokofiev’s Sonata, op. 28: historical, theoretical, stylistic and pedagogical implications." Kansas State University, 2012. http://hdl.handle.net/2097/13738.
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Master of MusicDepartment of Music
Slawomir P. Dobrzanski
The following report analyzes compositions performed at the author’s Master’s Piano Recital on March 15, 2012. The discussed pieces are Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E flat major, op. 31, no. 3; Frederic Chopin’s Ballade in F minor, op. 52; Leoš Janáček’s In The Mists: I. Andante, III. Andantino; and Sergei Prokofiev’s Sonata in A minor, op. 28. The author approaches the study from the historical, theoretical, stylistic and pedagogical perspectives.
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Mičkal, Ondřej. "Optimalizace prostředků ZLT na letišti Ostrava (náhrada pojezdového radaru)." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2011. http://www.nusl.cz/ntk/nusl-229452.
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This diploma thesis discusses and compares the current technologies and systems that are used to monitor and control movements on the airport surface. The paper presents the basic characteristics, operational principles and possibilities. Comparison provides an overview of their strengths and limitations in operational use. It also deals with this issue at the Ostrava Leos Janacek Airport, describes current situation and suggests how to solve problems associated with the introduction of CAT III precision approach and landing as well as monitoring and controlling of movements on the airfield under poor weather conditions.
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Blažek, Robert. "Analýza marketingového mixu Pivovaru Janáček a.s." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-93814.
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Chang, Ya-Lan, and 張雅嵐. "The Study of Janáček Opera-Jenůfa." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/00916650902903066299.
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碩士國立中央大學
藝術學研究所
95
This paper mainly discusses the important opera《Jenůfa》of Czech composer Loeš Janáček (1854~1928).《Jenůfa》is the first prose style opera in Czech history, which was composed by Janáček based on《Její Pastorkyňa》written by Gabriela Preissová (1862~1946). Romanticism, verismo, and folk elements are regarded as the most important ingredients in this opera. Besides these ingredients, Janáček integrated “speech melody” to complete its uniqueness. It took ten years for Janáček to complete the composition of《Jenůfa》and performed the debut in Brno. With great success in Brno,《Jenůfa》however was barricaded from performing in Prague for 12 years because of personal conflicts in between Karel Kovařovic and Loeš Janáček. After《Jenůfa》 was performed in Prague, Janáček was getting more famous which enhanced his confidence of composing more operas, and became a significant composer with great influence accordingly. In this paper, the first spotlight casts on Loeš Janáček and his music, the composition period and performance, as well as the revision history of 《Jenůfa》. Then, analysis and summary of the features of《Jenůfa》is another focus. Last but not least, the positioning of 《Jenůfa》and Loeš Janáček, the relationship between speech melody and the opera originality are concluded.
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Wei-Chun, Huang, and 黃暐鈞. "Leoš Janáček Violin Sonata--An Analysis and Thoughts on Musical Expressions and Performance Techniques." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/k8vd7s.
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碩士臺北市立教育大學
音樂學系碩士班
101
Leoš Janáček (1854-1928) was born in Hukvaldy and died in Moravská Ostrava. He, Bedřich Smetana (1824-1884), and Antonín Leopold Dvořák (1841-1904) were distinguished as “the most important Czech composers.” This paper will discuss Leoš Janáček’s violin sonata, his unique music style and his attempt of combining various materials, such as natural sounds and vocal language into his compositions. This paper includes seven chapters. Chapter 1 presents the research scope, field, and methodology of this study. Chapter 2 briefly introduces his life, musical style and the background of this violin sonata. Chapters 3 to 6 analyze the musical structure, tonalities and melodies of this sonata. All of the explanations will be provided with music examples. The discussions on violin performance techniques include fingerings, bowing, dynamics and tone color. In addition, this paper will offer some practicing methods regarding left hand. Chapter 7 gives a conclusion.
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Thuot, Marie-Ève. "L’organisation des personnages musicaux et son impact sur la forme dans le Quatuor à cordes no 2 de Leoš Janáček." Thèse, 2010. http://hdl.handle.net/1866/10370.
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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).Ce mémoire propose une analyse des dimensions formelle et mélodique du Quatuor à cordes no 2 (1928) du compositeur tchèque Leoš Janáček (1854-1928). Ces paramètres et leurs liens mutuels sont étudiés au moyen de la notion de « personnage musical », qui s’inspire du concept de «personnage rythmique» d’Olivier Messiaen. L’analyse de l’organisation mélodique dans l’ensemble du quatuor permet ainsi de démontrer comment des phrases mélodiques fortement caractérisées (les personnages musicaux) sont réitérées et articulées principalement par la juxtaposition à l’intérieur de chaque mouvement, donnant lieu à une forme originale et hautement répétitive. L’analyse paradigmatique de certaines sections formelles, ainsi que la mise en série de tous les personnages d’un même type, confirment l’importance de la répétition mélodique dans l’élaboration structurelle de l’œuvre. Par ailleurs, l’étude de la structure interne des personnages musicaux révèle que cette dernière résulte de la réitération de cellules mélodico-rythmiques. Ainsi, le même procédé de construction formelle par répétition et juxtaposition s’applique aussi bien au niveau de la succession des phrases mélodiques qu’à celui de leur structure interne. Les reprises des personnages musicaux s’élaborent comme le réaménagement de leurs cellules constitutives, donnant lieu à des structures mélodiques variées qui participent au renouvellement constant du discours musical, malgré son haut degré de répétitivité.
This thesis proposes an analysis of form and melody in Czech composer Leoš Janáček's (1854-1928) String Quarter No. 2 (1928). These parameters and their interconnectedness are studied using the notion of “musical character,” inspired by Olivier Messiaen's concept of “rhythmic character.” The analysis of the melodic organization within the entirety of the quartet allows us to demonstrate how strongly characterized melodic lines (the musical characters) are reiterated and predominantly articulated through juxtaposition within each movement, giving rise to an original and highly repetitive form. The paradigmatic analysis of certain formal sections, as well as the seriation of the same type of characters, confirms the importance of melodic repetition in the structural elaboration of a work. Furthermore, the study of the musical characters shows that their internal structure is itself based on the reiteration of melodico-rhythmic cells. Therefore, the same procedure of formal construction through repetition and juxtaposition applies just as well to the level of succession of melodic lines as to the construction of their internal structure. The recurrence of musical characters builds up like the rearrangement of their constituent cells, giving rise to varied melodic structures that take part in the constant renewal of the musical discourse, despite its high degree of repetitiveness.
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Mudrová, Jitka. "Libreto versus divadelní hra s využitím textu Karla Čapka Věc Makropulos." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-299955.
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We compare the features of drama and libretto, based on the text The Makropulos Affair by Karel Čapek (drama) and Leoš Janáček (libretto). We would like to show not only common dramatic features, but also the specific librettist features, which Janáček used by transformation Čapek's drama into opera libretto. We demonstrated, that dramatic features are in libretto at the level of structure and the specific librettist features are at the level of story, single figures and its constellation. The analysis confirmed the preliminary hypotheses.
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Ernst, Anthony. ""Durch kleine ritze nimmt man abgründe wahr": an examination of Max Brod's German performing versions of the works of Leoš Janáček." Thesis, 2003. http://hdl.handle.net/1959.13/1312483.
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Research Doctorate - Doctor of Philosophy (PhD)This thesis presents a complete survey of the German translations and adaptations by Max Brod of the works of Leoš Janáček. Although there have been thorough studies of Janáček's work, and mention made of Brod's contribution, there has been no historically researched musico-dramatic analysis. This thesis presents an overview of Brod's and Janáček's historical context, and a survey of Brod and his philosophy. It then examines the following Janáček works: the operas Junůfa, Kát'a Kabanová, Přihodý Lišky Bystroušky, Vĕc Makropulos, and Z mrtvého domu, Osud and Výlety pana Broučka. Brod made German versions of all except the last two. Also examined are the song cycle Zapisnik zmizalého and the choruses Kašpar Rucký and the Čtveřice Mužskych Sborů, which he also translated. In each case the process of the translation is traced, using the correspondence between Janáček and Brod, as well as the correspondence of both with Emil Hertzka, the head of the publishing house, Universal Edition. This is followed by a detailed analysis of the work in question, comparing the original text with Brod's German version, with particular emphasis upon the effect in performance of the alterations which Brod made, both intentionally and unintentionally. As a case study, there is an examination of Walter Felsenstein's production of Das schlaue Füchslein, which used a text based on Brod's. The thesis argues that the relationship between Janáček and Brod was much more complex than previously through; and that, contrary to Brod's opinion, Janáček's libretti were not in need of repair. It also argues that Janáček was less complicit in the alterations than believed. The thesis concludes that while Brod's contribution to Janáček's reputation is considerable and undeniable, the German performing versions do Janáček a disservice which misrepresents his dramaturgy and characterisation, based on a fundamental misunderstanding by Brod of the composer's methods and his aesthetic.
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Mudrová, Jitka. "Věc Makropulos. Od myšlenky k provedení." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312651.
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This thesis presents a complex of Janáček's opera The Makropulos Affair, covering its origin (and the genesis of opera in general), represents personality of Leoš Janáček from different perspectives and offers a didactic treatment of this theme. The work includes two layers - a theoretical and didactic. If we look at the text from a theoretical perspective, then here are about Janáček operas in terms of ideas, editing, production and inspiration of women. Further information on the general features of the libretto, practice, the role of stage manager, Janáček personality, his creative period, music and speech input field of prose to opera. Didactic point of view we see in the arrangement of this work and in quantities of information. The teacher can use the work as the basis for teaching, including the last chapter, which is dedicated only to the practical challenges and ideas. This thesis should help teachers, who want to focus on the opera or the personality of Leoš Janáček in the classroom.
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Novak, Miroslav [Verfasser]. "Leoš Janáčeks Oper Věc Makropulos / vorgelegt von Miroslav Novak." 1998. http://d-nb.info/961852720/34.
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Lee, Hung-Pei, and 李虹霈. "The study of Janáček's cello work “Pohádka”." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/84467431667497894066.
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碩士臺北市立教育大學
音樂藝術研究所
96
Leoš Janáček’s (1854~1928) work “Pohádka” for cello and piano written in 1910 was inspired by the poem “The Tale of Czar Berendey” written by Vasili Andreyvitch Zhukóvsky(1783-1852). There are two contrast melodic motives, lyric and rhythmic, which respectively represent two important characters— Ivan and Marya. The cello represents Ivan’s voice throughout the composition, while the piano represents Marya’s voice. Janáček combined these two instruments artfully to create a poetic atmosphere. This thesis is divided into six chapters. Chapter 1 deals with my research motivation, purpose, scope and methods. Chapter 2 introduces Janáčeks’ biography and his important works, and the background of “Pohádka”. Chapter 3 focuses on the music structure of this work including the analysis of subject motives, rhythms, time signatures, whole-tone scales, and harmonies etc. In Chapter 4, I will explain how Janáček integrate the poem “The Tale of Czar Berendey” into “Pohádka”. Chapter 5 shows how I interpret this work with my observation on the changing of dynamic and rhythm and the use of subjects relating to the literature. In the last chapter, I will conclude with my understanding toward this work which helps me to get more ideas and brings me closer to the music.
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Procházková, Lenka. "Klavírní dílo Leoše Janáčka a jeho využití v ZUŠ." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-291538.
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The aim of this diploma thesis is to acquaint the reader with the personality and piano works of Leoš Janáček. It is especially directed at interpretation specificity of piano works by Janáček. Not only experienced pianists but also teachers and students of various degrees and types of music schools are faced with this problem. For this reason I tried to outline my thesis so that pieces of knowledge contained in it could be applied in the practice as much as possible.
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Huang, Wei-Chen, and 黃薇蓁. "The Analysis and Interpretation of Leoš Janáček's Violin Sonata." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3wa587.
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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 verified on the basis of written contemporary sources (Dvořák's correspondence and contemporary press, sometimes yet unknown). Distorted and false pieces of information are corrected and supplemented with new findings (relating to the performances, interpreters, arrangements). Thanks to them, the author presents a new sight of the history of the reception of this composition from inception until the beginning of present century. For the first time all musical sources are examined in detail and relations between them studied (autograph with revisions between years 1876-1883, a copy of the score, which Leoš Janáček let made in 1878/9 and materials of the first printing J. Hainauer from 1883). Then author draws attention to...
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Janáčik, Peter [Verfasser]. "Self-organizing construction of connected k-hop dominating sets in wireless sensor networks / Peter Janáčik." 2010. http://d-nb.info/1007084669/34.
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Břeň, Martin. "Život a dílo brněnské herečky Vlasty Fialové." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408894.
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The Life and Work of Vlasta Fialová, actress of Brno This master's thesis is to bring closer the life and work of one of the most prominent Czech artists of the 20th century. The actress, who wrote herself into the history of film, television productions and radio, but especially the theater that was everything for her. The work is trying to capture her life and career, she has been able to build for a long, active fifty-year period, only in three Moravian cities: Opava, Olomouc and Brno. The work maintains a line beginning in the period before her birth, focuses on the cultural and historical events of the Brno metropolis, the beginning of her life, the years of childhood and adolescence, which she experienced as a student of a grammar school and a musical drama department of the Brno Conservatory during the Nazi occupation of her hometown. And then emphasis is placed on her individual theatrical engagements, as well as on the films and TV productions in which she performed, and the programs recorded for the radio. It also presents a certain reflection and characteristic of the characters and the acting art of this unique actress, whether it is a stage character or a silver screen. From those she created as a fresh and very talented graduate of the Conservatoire, through very handsome women with...
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Hu, Ting-Hsuan, and 胡庭瑄. "Musical Analysis and Interpretation of Leoš Janáček’s Sonata for Violin and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/37sg8m.
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Tzeng, Yu-Chia, and 曾語加. "A Study of Leoš Janáček's Violin Sonata from a Collaborative Pianist's Perspective." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/kqam8y.
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碩士國立臺南藝術大學
鋼琴合作藝術研究所
106
Leoš Janáček (1854-1928) was born in Hukvaldy, Moravia, Czech. He devoted himself mainly to collect folk songs, and to explore the essence of Czech folk music and tried to combine it with his own theory. His works include opera, choral orchestral music, vocal music, chamber music, orchestral music, piano works etc. Violin Sonata is Leoš Janáček’s later work, created in 1914-1921 during World War I (1914-1918). The tonality is ambiguous and difficult to define it with traditional major-minor tonality. There are enharmonics in all of the four movements. The melodic lines are simple, but with exotic style. The rhythmic figures are short, and there are many tempo changes among sections. In the piano part, there are lots of fast arpeggios and tremolos. The atmosphere of the whole piece is filled with turbulent tension, but with folk-like lightness at the same time, which is challenging to the performers. This thesis is divided into four chapters. Chapter one is introduction. Chapter two consists of Leoš Janáček’s biography, works, compositional music style and the historical background and music characteristics at his time. Chapter three explores the compositional background of Janáček’s Violin Sonata, and analyzes the forms, the themes, the rhythms, scales, tonalities, enharmonics and accompanying figures in the piano part. Moreover, I will discuss the performance interpretation from a collaborative pianist’s point of view. Chapter four is conclusion.
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JI-SHIN, HE, and 何季欣. "A Study on Leoš Janáček’s song cycle Zápisník zmizelého: nápěvky mluvy and other characteristics." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/57mcgf.
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碩士國立臺北藝術大學
音樂學系碩士在職專班
97
Upon the spirit of nationalism in the 19th century, Leoš Janáček(1854-1928), the Czech composer, collected Czech folk songs, promoted the Czech language , and explored the characteristics of national sound from folk songs and compatriots’ everyday speech utterance. He largely recorded the spoken language in ordinary life with musical notation. Then, according to the basis of aesthetics, psychology, and physiology, he established the “nápěvky mluvy” theory which integrates intonation contours and rhythms of speech utterance into song melody and instrumental music. The theory gradually evolved to his unique composition style and musical language. During his last years, Janáček has written numerous masterpieces out of his creativity stimulated in his romances; for example, the song cycle Zápisník zmizelého was the work of the composer’s passion. This thesis is to research Janáček’s nápěvky mluvy by exploring his application on it in his late work Zápisník zmizelého.
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Leška, Rudolf. "Recepce české a slovenské opery v Německu se zřetelem k Bavorské státní opeře v Mnichově." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324088.
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This thesis examines from theatrical point of view the Janáčkian dramaturgy in German speaking countries within the context of local reception of Czech and Slovak opera and with special consideration of the Bavarian State Opera in Munich. The main referential base of research is German daily critique through which the Author presents an overview of more important productions of Leoš Janáček's operas. The Author then discusses the historical context of these productions, the stage history, German Janáčkian programme and roots of modern-day social-critical expressive staging of Janáček in German speaking area as compared to the more lyrical realistic Czech approach (to simplify). The discussed period is concluded with the year 1998.
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Li, Shu-Chuan, and 李淑娟. "Analysis and Interpretation On Janáček’s Composition for Piano Cycle《On an Overgrown Path》, Series I." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/7ygeja.
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Lee, Hsiang-Ying, and 李香瑩. "Harmonic and Melodic Expressions of 'Speech-Melody' in Leoš Janáček's Sonata for Violin and Piano." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/94730142149128843562.
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碩士國立交通大學
音樂研究所
93
This paper is based on Leoš Janáček's Sonata for Violin and Piano. It will show how Leoš Janáček uses his own musical theory idea and “Harmonic and Melodic Expression of Speech-Melody” in his Sonata for Violin and Piano.
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Mokrá, Eva. "Česká škola violové hry." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-355654.
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I focus on viola performances in the Czech surroundings in my thesis. I follow the topic of my Bachelor thesis. I resume the history of the instrument playing in my introduction; then I follow the development to the string quartet from its origin - turn of the 19th and 20th centuries until today. I analyze the artistic career of some chosen quartets, which are characteristic for certain period. I especially take notice of important Czech viola players (Herold, Škampa). I introduce two contemporary figures of the viola play (Doležal, Pěruška) in the practical part and I offer comparison of the interpretations of Dvořák's compositions done by three different string quartets from different periods.
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LIAO, WEI-CHUNG, and 廖威仲. "An Analysis and Interpretation of Janáček’s Piano Work On an Overgrown Path,JW VIII/17 Series II." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/mpaqw8.
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碩士輔仁大學
音樂學系
105
In the 19th C. with Nationalism prevailing, a musician was born in Czechoslavakia－Leoš Janáček(1854-1928). Janáček upheld the spirit of patriotism, placed a high value on Czech culture, created a unique system of language theory(Speech Melody) and made music that was filled with a strong national color. This paper mainly covers the analysis and interpretation of Janáček late piano work On an Overgrown Path (JW VIII/17 Series II,1901-1911). There are five chapters in this paper. The first chapter introduces the research motivations and methods. Chapter two discusses Janáček’s life and musical style. The third chapters presents the background of On an Overgrown Path and an analysis. The fourth chapter discusses an interpretation of the work and chapter five summarizes the research conclusions.
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Grygarová, Jana. "Vliv moravské lidové písně na klavírní dílo Leoše Janáčka, Vítězslava Nováka a dalších skladatelů s využitím ve výuce klavírní hry." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-293214.
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Moravian folk songs are characteristic by many specifics which make them different from Bohemian folk songs. It is particularly caused by historical context and geographical location. Folk traditions in Moravia go back to the remote past and during its development Moravian folk music went through many changes. What make it so unusual are primarily the preservation of numerous archaisms and enriching of tonal procedures by modal ones - by applying characteristic degrees of individual church modes. The interference of old and more recent elements and indefiniteness of keys are typical features of Moravian folk songs. The individuality of Moravian folk music also shows in its rhythmical side, which is characterized by frequent uneven figures, by distinctive phrasing, etc. The phrasing together with the direction of melodic line are the most impressive in its interpretation. So called fiddle bands, which played in the country, used for the harmonization of songs primarily basic harmonic functions enriched by some uncommon connection of tones, pedals, etc.
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TOMŠŮ, Jaroslava. "Proměna tváře města Pelhřimova v 2. polovině 19. století a na počátku 20. století." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-53129.
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This thesis takes an interest in urbanistic development of Pelhrimov at the turn of 19th and 20th century. It tries to show process of the urbanization basically with an example of this town. It takes a note of evolution of small-towners` esthetical feelings and their approach to the care of historical monuments and it wants to find movers and initiators of architecture changes in the town. From this poit of view it takes an interest in regional section of Club For old Prague mainly. Mambers of the section became advisory authority in questions of rebuilding Pelhrimov during the early 20th century. They arranged contacts with Prague{\crq}s architects and historians of art. There have been realized some interesting projects thanks to them. The most telling was a cooperation with architect Pavel Janak and historian Zdenek Wirth. Pelhrimov rose from small-town{\crq}s culture for a while. But the promotion of new trends in art faced to protests of still conzervative inhabitants.
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Pavlíková, Veronika. "Architektonická účast českých umělců na světových výstavách v letech 1900 - 1940." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-343726.
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This thesis deals with Czechoslovakian pavilion architecture at the world exhibitions in the first half of the 20th century. The thesis is divided into three sections. The first section deals with a participation of Czech artists at the world exhibitions before the creation of independent Czechoslovakia. Next two sections focus on Czechoslovakian representation at the world exhibitions in the twenties and thirties of the 20th century. The thesis deals closer with preparations, looking for a basic solutions, choosing of architects and requirements which have been imposed on them. In the conclusion there is outlined development of our participation at the world exhibitions in a given period and its way to the famous EXPO 58.