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Tesi sul tema "Dvořák"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 31 gennaio 2023

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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.

Testo completo
Abstract (sommario):
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 nigth of "Rusalka" in the National Theatre changes of its later conception in the 21st.century.
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2

Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf." Kansas State University, 2012. http://hdl.handle.net/2097/13747.

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Abstract (sommario):
Master of Music<br>Department of Music<br>Amy Rosine<br>This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.
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3

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

Testo completo
Abstract (sommario):
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 neuen Publikationen seinen Niederschlag fand und - denkt man an \"Czech Music\", das Journal der Dvořák Society London, das sich zu einem wichtigen Periodikum für Dvořák entwickelte, oder an die Prager \"Hudební věda\", in der kaum ein Jahrgang ohne einen Beitrag zu Dvořák erscheint - immer noch findet. Fast alle Richtungen der Dvořák-Forschung sind dabei vertreten, sei es die Grundlagenforschung, sei es die Biographie, seien es Untersuchungen zu speziellen Aspekten des Komponierens, Studien zu bestimmten Gattungskomplexen oder auf ein Werk konzentrierte Analysen, sei es die Rezeption oder auch die Geschichte der Dvořák-Forschung selbst. In gebotener Kürze - und dadurch zugegebenermaßen etwas vergröbert - sei ein Einblick gewagt.
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4

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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Abstract (sommario):
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 Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert’s influence on Dvořák’s music was notable, so after comparing some of Dvořák’s writing about Schubert’s music, I examine specific musical elements (sonic, formal, and structural) from Schubert’s String Quintet in C Major, D. 956 that Dvořák emulates in his string quartet in the same key. Chapters 3 and 4 put Dvořák’s sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvořák’s use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer’s use of energy gain in the transition section of a sonata. Additionally, many of Dvořák’s sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvořák extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy’s treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvořák’s music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.
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5

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.

Testo completo
Abstract (sommario):
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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6

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.

Testo completo
Abstract (sommario):
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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7

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.

Testo completo
Abstract (sommario):
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 neuen Publikationen seinen Niederschlag fand und - denkt man an \"Czech Music\", das Journal der Dvořák Society London, das sich zu einem wichtigen Periodikum für Dvořák entwickelte, oder an die Prager \"Hudební věda\", in der kaum ein Jahrgang ohne einen Beitrag zu Dvořák erscheint - immer noch findet. Fast alle Richtungen der Dvořák-Forschung sind dabei vertreten, sei es die Grundlagenforschung, sei es die Biographie, seien es Untersuchungen zu speziellen Aspekten des Komponierens, Studien zu bestimmten Gattungskomplexen oder auf ein Werk konzentrierte Analysen, sei es die Rezeption oder auch die Geschichte der Dvořák-Forschung selbst. In gebotener Kürze - und dadurch zugegebenermaßen etwas vergröbert - sei ein Einblick gewagt.
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8

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.

Testo completo
Abstract (sommario):
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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9

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.

Testo completo
Abstract (sommario):
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 - Ivan Klansky, Martin Kasik and Ivo Kahanek.
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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.

Testo completo
Abstract (sommario):
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 description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).
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11

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/.

Testo completo
Abstract (sommario):
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 revision or a combination of both. In order to gain a broader analytical perspective and achieve a more authentic interpretation of the piece, a thorough understanding of the relation between Dvořák’s work and Kurz's revisions is indispensable. This study examines these adaptations and compares them with Dvořák’s scoring in order to gain further insight to Kurz's musical intent and pianistic aims. Examples from all movements are evaluated vis-à-vis the original to determine their purpose and musical validity.
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12

Cazzanelli, Sara. "Pictures for an audition : Reflections on the role of roots and background in the composing and performing processes." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2185.

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Abstract (sommario):
"Pictures for an audition" are a visual tool I created to help in performing orchestral excerpts. I always had the aim to get deeper in the knowledge of the Zeitgeist of the composers I was facing, and as a consequence the aim to communicate this knowledge, this richness of roots, to the audience in a way as widely understandable as possible. I have been reflecting on the role of roots and background keeping as a reference point the figure of Dvořák, due to his strong connections with the Czech land and tradition. The inspiration I get from the composers’ background influences choices I do in dynamics, colors, articulation, and most of all expression. But how to get this inspiration when the situation is that of an orchestral audition, when the excerpts are so short, different in style and background, and played in a row with just few seconds between one and the other one? It is not possible for me to remember in few seconds what is more important about a particular excerpt, not even if I would prepare a written summary, since only to read that it would take at least one minute. Instead, visual memory is instantaneous, and somehow produces in me a more immediate inspiration than written concepts. Therefore, I decided to translate into visual inputs, i.e. selected pictures, photographs, or very short evocative sentences, the concepts which are for me more relevant about five excerpts which are often required in clarinet auditions. For each excerpt, these visual inputs have been put together in a A4 paper, and the outcome I called, for the sake of simplicity, the “picture for an audition”. I used this tool during my practice; after a while I recorded myself, and, finally, I used the picture as a reference point to check if in the recording it was clear enough what I wanted to express. In this comparison, the pictures made me more attentive to details I would have otherwise overlooked, and became an inspiration also to find new ways to practice the excerpts.
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13

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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14

Dvořák, Jana [Verfasser]. "Auswirkungen des Klimawandels und ausgewählter Anpassungsstrategien auf die Humus- und Nährstoffbilanz sowie den Ausstoß an Treibhausgasen in der Landwirtschaft im Norddeutschen Tiefland / Jana Dvořák." Halle, 2017. http://d-nb.info/1155760883/34.

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15

Dvořák, Jana [Verfasser]. "Auswirkungen des Klimawandels und ausgewählter Anpassungsstrategien auf die Humus- und Nährstoffbilanz sowie den Ausstoß an Treibhausgasen in der Landwirtschaft im Norddeutschen Tiefland / Jana Dvořák." Aachen : Shaker, 2018. http://d-nb.info/1159835853/34.

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16

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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Abstract (sommario):
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 sakkunnig jurymedlem har frågan kring vad man kan göra för sig själv och vad som förväntas i en provspelningssituation utretts. Detta resulterade i insikten kring att mental styrka är något som går att bygga upp och påverka själv om man uppövar ett konstruktivt tänkande. Utöver detta upptäcktes också vilka parametrar som var viktigast i en provspelningssituation där tonkvalité, rytm och intonation stod i centrum. Några viktiga passager i Dvořáks cellokonsert diskuterades vidare och tekniska aspekter för att underlätta dessa framlades. Studien kan komma till nytta för unga musiker, främst cellister, i deras förberedelse inför nervösa situationer, så som provspelningssituationer, där Dvořáks cellokonsert i b-moll Op. 104 är mycket vanligt förekommande.<br><p>Inspelning av Antonín Dvořáks cellokonsert i b-moll, Op. 104, sats 1. takt. 82-267 (exposition och genomföring som är standard i provspelningssammanhang). Pianist: Georg Öquist. Lokal:Sveasalen (4301), Kungl. Musikhögskolan, Valhallavägen 105, 115 91 Stockholm.</p>
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17

Thomson, John A. (John Alistair). "The gypsy in violin music: a lecture recital featuring the music of Kreisler, Ravel, and Sarasate : together with three recitals of music by Bartók, Beethoven, Chausson, Dvořák, Schoenberg, Schubert, Shostakovich, and Tchaikovsky." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332656/.

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Abstract (sommario):
The lecture recital is an examination of Roma music with particular emphasis on violin repertoire. The lecture was followed by a performance of Kriesler's La Gitana, Sarasate's Zigeunerweisen, and Ravel's Tzigane.
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18

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.

Testo completo
Abstract (sommario):
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 which assertion demonstrates itself in the vast number of compositions from the fields of opera and song, and also sacral, chamber and orchestral music. His works are still popular nowadays, and they are being often presented and interpreted in the concert halls.Antonín Dvořák´s song composition has become the central focus theme of my Master thesis.
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19

Fišer, Jakub. "Houslařství - rod houslařů Dvořáků." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177720.

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Abstract (sommario):
This master´s thesis deals with violin making in general. First part ius focused on a rise of violin and its predecessors. The second part about violin making. In this part of thesis you can find general methods how violin makers usually work. The third part introduces a history of violin making, violin makers in Czech Republik and in Europe since his rise till present.European history of violin making is divided into single ( e.g.Italian violin makers, French violin makers etc.).The next chapter relates about social and politician situation in Czech during 19th century, which influenced the cultural and music life. The violin makers too. The second half of master´s thesis contents a life and art of dynasty of Dvořák´s violin makers. They were four. Each has his own chapter, where you can find their brief curriculum vitae and the art of each for sure.
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Dvořák, Johannes [Verfasser], Ulf [Gutachter] Teichgräber, Ansgar [Gutachter] Malich, and Ingo B. [Gutachter] Runnebaum. "Vergleichende Analyse der morphologischen und dynamischen Charakteristika von Brustläsionen, die mittels 1,5 vs. 3 T MRT bioptiert wurden : Unterschiede und Gemeinsamkeiten im diagnostischen Outcome und in der Machbarkeit der Intervention / Johannes Dvořák ; Gutachter: Ulf Teichgräber, Ansgar Malich, Ingo B. Runnebaum." Jena : Friedrich-Schiller-Universität Jena, 2017. http://d-nb.info/1177594315/34.

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21

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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Abstract (sommario):
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 diplomacy is clarified there. The third chapter then presents specific players and partners whose cooperation the author deals in the fourth and fifth chapter. The fourth chapter discusses in detail the Film Festival Panorama Europe, Europe's largest film festival in New York and tries to map its promotion. This event is significant in that it is an original project of the Czech Centre New York. The Film Festival currently has a lot of partners and is held under the auspices of EUNIC. The fifth chapter presents a unique project, which has been involved in over twenty-five different players. Main theme was the freedom celebration, celebration of the 25th anniversary of Velvet Revolution. The main objective of this thesis is to analyze how players contribute in building the reputation of the Czech Republic in the USA and how they promote their activities. Everything is based on case studies.
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22

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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Abstract (sommario):
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 work, it is either in the form of dances, instrumentation or simple features of harmony. I thoroughly searched for these features in the chosen works and these are put into the sample overview. There is also the publishing of the pieces ? publishing notes which attracted me with the original sound and small differences from the author?s handwriting. In the end there is mentioned a few looks at Dvořák?s work by famous authors.
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23

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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Abstract (sommario):
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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24

Hniličková, Kristýna. "Strategický rozvoj společnosti VKS Pohledští Dvořáci a.s." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-162241.

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Presented diploma thesis deals with the strategic development of the company VKS Pohledští Dvořáci a.s. The thesis contains a list of current activities of the company and suggests opportunities for further development. To reach this objective various internal and external analysis are used, namely PEST analysis, Porter's five forces model, the Value chain and SWOT analysis. To explore the possibilities for future development of the company, two growth strategies are applied -- Porter's Generic Strategies and Ansoff Growth Matrix. There was a survey done which purpose was to monitor customer satisfaction with the products and services provided by the company and to suggest improvements in the company marketing. The conclusion summarizes the most important findings and proposes recommendations on the future expansion of the company.
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Cossuth, Joshua Howard. "Climatology of Dvorak classifications for operational probabilistic genesis forecasts." Tallahassee, Fla. : Florida State University, 2010. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/2181932.

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26

Dohnal, Jakub. "Roubený penzion na Stříbrném dvoře v Jihlavě." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-227177.

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The aim of this master´s thesis is to design a log house on a particular parcel near the city of Jihlava in locality called Silver Courtyard. There will also be designed a shooting range for shotguns and rifles with facilities for shooters on this plot. There are also designed cottages for four and eight people, which will be placed between the log house and the shooting range on the edge of the pond. The log house will include a swimming pool, a whirpool bath, restaurant and two lecture halls. Wall structure is designed from wood sandwich system from OK Pyrus. The log house has a partial basement where are garages and technical support for the operation of the building. On the ground floor are all operations. Attic is only for guests. The log house is covered with a gable roof with insulation above the rafters for the use of aesthetic perception of the supporting truss. Covering is from the folded concrete. The overall concept is based on a proposal of the smallest possible heat loss.
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27

Corley, Scott Randolph. "Thomas Lee Dvorak: a career as music educator and conductor." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2198.

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Thomas Lee Dvorak (b. 1941) uniquely blended his experience as a music educator with his long career as a collegiate conductor. In his ten-year career as a public school instrumental music educator, Dvorak taught bands at the elementary, middle school or junior high, and high school levels. During this time, he encountered beginning instrumental music instructional methods that allowed his beginning band students to advance at a rapid pace. Dvorak parlayed his school band teaching experience with his growing reputation in band music education into an appointment to the music education faculty at the University of Michigan. At Michigan, Dvorak combined his experience and duties in music education with a conducting position when he was assigned to conduct the University of Michigan Youth Band/Wind Ensemble in 1975. After being named its Director of Bands in 1979, Dvorak created a similar symbiotic role for himself at the University of Wisconsin--Milwaukee (UWM) when he founded the Greater Milwaukee Youth Wind Ensemble in 1982. Throughout his twenty-seven year tenure as Director of Bands at UWM, Dvorak also combined education and conducting through the mentorship of graduate conducting students, his sponsorship of new and original music for young/developing bands, and his outreach work with Milwaukee-area school band programs. Dvorak also enjoyed a reputation as an insightful interpreter of wind band music, a leader of national professional organizations, authority on wind band repertoire, and as a frequently invited guest conductor of school, collegiate, and professional ensembles Thomas Dvorak retired from UWM in May 2007 and was named Professor Emeritus of Music.
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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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Dvorak, Fabian [Verfasser]. "Heterogeneity in Conformity and Cooperation : Two Experiments and Statistical Software / Fabian Dvorak." Konstanz : KOPS Universität Konstanz, 2018. http://d-nb.info/1224808940/34.

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Možíš, Jan. "Příprava realizace bytového domu ve Dvoře Královém nad Labem." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-240302.

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The subject of my diploma thesis is the construction-technological project of apartment house in Dvůr Králové nad Labem. Thesis is focused on the most optimal technological procedures of foundation construction on deep foundations and total external insulation by external thermal insulation composite system. Regulations are supplemented by inspectional and trial plans, appropriate machinery and equipment of assembly site. Included is also work safety, time schedule and budget of substruture. The most interesting thing of my thesis will be model of the noise load on the surrounding objects resulting from the construction of apartment house which will the proposed appropriate measures of noise control.
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31

Jeremica, Elisabeth. "How to Learn the Dvorak Cello Concerto in B Minor: Building Personalized Practice Techniques for Virtuosic Performance." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449188899.

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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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Abstract (sommario):
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 compositor dava seus passos iniciais na trilha que o conduziria à notoriedade internacional, se mantém até hoje à sombra do Concerto op. 104 em si menor, considerada pelos violoncelistas como a obra magna do gênero, dentro de um restrito repertório solístico existente para este instrumento. Este trabalho, através de múltiplas abordagens enfocando aspectos editoriais, históricos, analíticos e interpretativos, tem o objetivo de trazer ao conhecimento dos intérpretes e do público uma obra que, na versão de Günther Raphael, recebeu a formatação necessária para que passasse a apresentar uma organização formal digna do período de maturidade deste compositor<br>Abstract: In 1865, when was 24 years old, Dvorák composed a Cello Concerto with piano accompaniment that, in spite of two orchestral versions after the composer¿s death, still remains in a situation of obscurity. Written at a time wherein the composer was taking their first steps in the trail that would lead him to international notoriety, until today remains in the shadow of the Concerto in B minor, op.104, considered by the cellists such as the magnum opus of the genre for this instrument. This work, through multiples approaches focusing editorials, historical, analytical and interpretative aspects, has the purpose of bring to the attention of the interpreters and public a work that, in Raphael¿s version, received the necessary formatting to presents a formal organization worthy of the maturity period of the composer<br>Doutorado<br>Praticas Interpretativas<br>Doutor em Música
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33

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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34

Bourque, Wendy L. "A comparison to assess the extent to which the Mach-Dvorak and the Pulfrich effects reflect the same physiological processes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/MQ38362.pdf.

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35

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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36

Loos, Helmut. "Religiosität bei Smetana und Dvořák." 2006. https://ul.qucosa.de/id/qucosa%3A16035.

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Warum hat Zdenek Fibich seine gesamten frühen Kirchenkompositionen vernichtet? Eine Besprechung seines (scheinbar paradoxerweise) überlieferten Weihnachtsmelodrams Stedry Den, die ich im Jahre 2000 auf der Konferenz in Prag vorgetragen habe, suchte eine Erklärung in der grundlegenden gesellschaftlichen Kontroverse der Zeit: in der Auseinandersetzung zwischen national-liberalen und christlich-konservativen Gesellschaftsgruppen.
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37

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 basne, jednotlive oddily pisne (A B A') odpovidaji presne strofim puvodni basne. DalSf skupinu tvori pisne, kde prvni strofa basne odpovida prvni casti pisne, dale jiz Dvorak text pozrneiiuje, opakuje verse, slova, deli strofu rnezi jednotlive oddfly pisne. Podle celkove nalady basni jsou pisne v cyklu zhudebneny, v pisnich je patmy i ohled k vYznarnovYm detail urn. Mezi pnznacne rysy tohoto Dvorakova prvniho cyklu patti formovy rad. Hudba Cypfisu prevysuje zhudebnene basne a zuslecht'uje jejich konvencni obsah. Pisne dIe rneho nazoru vystihuji povahu jednotlivych textu a rozlisuji i naIadu uvnitr pisne. Tento pisiiovy cyklus je celkern, ktery rna svou atrnosferu a jeho propojenost je dana textern.
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38

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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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 a wider context. In this sense it aspires to become a foundation of the editorial work itself. By means of modern philological methods, the dissertation registers and assesses a close-to double amount of different editions of Moravian duets than have been registered in Burghauser's Thematic catalogue of Dvořák's work (Prague 1996). It includes a hitherto unknown copy of Sušil's collection of Moravian Folksongs of 1860, which Dvořák used as the text original in composing his work. The textual aspect of Moravian duets represents one of the focus points of this dissertation. The author of the dissertation strongly argues against the current critical edition of the Moravian duets (The Complete Edition of Antonín Dvořák's...
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40

Tseng, Li-Han, and 曾莉涵. "The Analysis and Interpretation of Dvořák Zigeunermelodien op.55." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/3nu8um.

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41

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 first chapter is the preface, and the second one focuses on the biographical backgrounds and styles of the composer and the poet relatively. In the third chapter, I provide an overview of the origin of gypsy culture and features of music. Then, in the fourth chapter, I will analyze the composing techniques and the performing interpretations of the work through studying the poetic lyrics and the music. Lastly, the final chapter is the conclusion.
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42

Huang, Ying-Tzu, and 黃盈慈. "The Analysis and Interpretation of Dvořák Zigeunermelodien op.55." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3td8qw.

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碩士<br>國立臺北藝術大學<br>音樂學系碩(博)士班<br>106<br>Abstract Nationalism is an important branch of Romanticism in music, and the rise of romanticism in the nineteenth century gave rise to nationalism; therefore, many composers at that time were dedicated themselves to the development of the music which can be used to represent their nations, and it usually contains national or folk music as elements; eventually, it became Nationalism a kind of music having strong national and patriotic feelings. Dvořák is one of the representatives of Nationalism, and the work "Zigeunerlieder Op.55" is his masterpiece of combining Bohemian and Gypsy music. The thesis is divided into four chapters, the first chapter briefly describes the history and cultural background of the Czech Republic; the second chapter contains the biography of Derek Sauk and the introduction of his vocal works and also the national consciousness in them; the third chapter is divided into two sections, the first section is focusing on the origin of Gypsy and the second section is discussing the Hungarian gypsy music at that time; the forth chapter is divided into three sections, first is about the original ideas of composing "Zigeunerlieder Op.55"; second contains lyrics analysis and the biography of poet Hejduk; third helps me find an appropriate way to interpret the suite by analyzing the structure and interpretation ways of it and also the style of Bohemian in it.
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Hsieh, Yi-Chien, and 謝宜倩. "The Analysis and Interpretation of Dvořák Biblické písně Op.99." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80367342384250775281.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>100<br>This study is mainly intended to analyze and discuss the interpretations of the piano version of the《Biblické písně》op.99, a vocal piece composed by Antonín Leopold Dvořák (1841~1904) as a Romantic composer. The vocal piece contains a series of ten songs in total, with the lyrics adopted from the Psalms of King David in the Old Testament. Having himself suffered a series of frustrations in life, Dvořák felt strongly about those lyrics as they had inspired immense power in him, for which he desired to evince the power through music. The《Biblické písně》is one of the compositional peaks achieved by Dvořák, and can also be said to be one of the significant works ever seen in the world’s music history. This discourse is composed of five chapters. Chapter 1 states the purposes and structures of this study. Chapter 2 is an introduction to the life of Dvořák. Chapter 3 delves into the background of the《Biblické písně》and the Psalms. Chapter 4 analyzes and studies the lyrics of each of the songs, their respective translations and explanations, compositional styles and frameworks, and vocal performances. A concluding remarks of this study is set forth in Chapter 5. Hopefully, through my analysis and performance of the ten songs, this study can allow the readers to gain a better understanding of the 《Biblické písně》op.99 on the one hand, and, on the other, serve as a source of reference materials for those who will perform the songs in the future.
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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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Dvořák, Jan [Verfasser]. "Decay properties of nuclei close to Z=108 and N=162 / Jan Dvořák." 2007. http://d-nb.info/985213566/34.

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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 by the poetry of the psalms and expressed his feelings through music. This work stands as a peak among Dvořák’s vocal compositions. This paper is divided into five chapters. The first chapter explains the motivations, goals, and research methods of this study. The second chapter describes Dvořák’s life and background. The author used biographies, articles, and studies published by musicologists to make contact with Dvořák’s upbringing. The third chapter illustrates the connections between Biblical Songs and the psalms of the Bible. The fourth chapter contains a detailed analysis of the songs’ structures. Finally, the fifth chapter summarizes this study and the author provides basic concert interpretation for singers. Keywords: Biblical Songs, Antonin Leopold Dvořák, art songs, sacred songs, psalms
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Hroncová, Alexandra. "Vladimír Dvořák a Hlavní redakce zábavních pořadů Československé televize v letech 1968 - 1976." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340355.

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(in English): Vladimír Dvořák (14 May, 1925 - 28 December, 1999) is mainly known to the public as the presenter of Televarieté, a TV entertainment programme, and older generations may also remember him as a music programme presenter and an author of lyrics to pop-music songs of the 1960s. However, this limited perception calls for a correction, as Vladimír Dvořáka was, without exaggeration, a universally talented man. As this text aims to show, Dvořák was strong in fine art and literary disciplines (wrote a number of librettos), as well as on the script-editing, programme presenting and acting sides, and all these artistic talents were sheltered with and maybe even shadowed by his organisational skills (completely unknown to the public) combined with enormous proactivity and high ambitions. During his presence at ČST Vladimír Dvořák created a TV entertainment development strategy that he worked on until his death. He was diplomatic and creative at the same time, and he introduced a number of very successful TV formats to feature many big names, at least those tolerated by the totalitarian regime. Vladimír Dvořák knew how to manoeuvre his way through the clearly demarcated world of communist TV broadcasting without having to make dirty compromises with the regime's officials. Moreover, although he...
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48

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 remaining under Habsburg rule. Drawing on the wealth of newspaper and journal articles that were printed in the Czech press at this time, the dissertation places Dvořák’s music into its Czech context. The topic is explored by way of three case studies that deal with Dvořák’s contributions to choral, operatic, and symphonic genres. Each of the works examined came at a significant moment in Dvořák’s career in the Czech lands. The performance in 1873 of the choral cantata Hymnus: Heirs of the White Mountain marked Dvořák’s professional debut; with the 1878 production of the comic opera The Cunning Peasant, Dvořák celebrated his first major triumph on the coveted Czech operatic stage; and the Prague premiere in 1881 of his first widely recognized symphony, the D major, Op. 60, proved to be crucial in defining Dvořák’s role in the concert hall. These case studies reveal that Dvořák’s treatment in the Czech press varied depending on the unique traditions of these genres and their differing status within Czech musical culture. The project highlights the complex relationships and interactions among critics, audiences, and composers. In the politically-charged climate of fin-de-siècle Bohemia, Czech critics took ownership of Dvořák and enlisted his music to advance their own agendas. Dvořák, in turn, was keenly aware of and often catered to public tastes and critical expectations. Intertwining various realms of contextual inquiry, including nationalist rhetoric, contemporary critical discourses, and the musical repertories that were cultivated in the Czech lands, the dissertation draws attention to the multiple agents at play in Dvořák’s nineteenth-century Czech reception.
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Chiu, Ying-Chin, and 邱應欽. "The Interpretation and Analysis of Cello Concerto in B minor, Opus 104 by Dvořák." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/45rye5.

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50

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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Abstract (sommario):
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 method of research, chapter two explores his life and general music styles from different periods. The third chapter gives a brief introction of Nationalism elements in Dvořák’s and others composers’ music, the fourth chapter summarizes Dvořák’s chamber music. Chapter five analyses his 《Piano Quintet in A Major, Op. 81》from the different aspects including harmonic vocabulary, formal structure, modulatory techniques, melody, and so on. The last chapter summarizes this thesis.
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