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1
Hruška, Viktor. „Dějiny české hudební teorie do počátku 20. století“. Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-363581.
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The thesis consists of two parts: summary of the history of the czech music theory from the epoch of Charles IV. till the beginning of the 20th century and topics of the original research.
The latter one contains three studies published during the doctoral programme. The first serve as a draft of an editorial note for the future reedition of the major theoretical work by Jakub Jan Ryba (Rudimentary and general basics to all the art of music). The second one deals with the rediscovery of one of the oldest harmony textbooks in czech. The third describes the beginnings of czech music acoustics in 19th century.
2
Kopicová, Jana. „Hoboj - historie a vývoj nástroje“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253755.
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Thesis with the title: Oboe - history and evolution of the instrument deals with gradual development of double reeds wind instruments since prehistorical times until now. It should benefit wind instrument players and espetially oboe players.
This thesis is devided to fourteen chapters. First chapter sums up the history of the oldest double reeds instruments. Second continues with the description of shawms, which were direct predecessors of oboe. Following chapter describes most important part of oboe, as reed is, and shows its origin and evolution. Fourth and fifth chapters of the thesis deal with history of creation and development of baroque oboe and its reed. Continuing with chapter nuber six, which contains information about english horn as one of oboes related instruments, and chapter seven mentioning oboe da caccia. In eighth chapter we can find description of 18th century oboe developement and onwards the most famous players of oboe in chapter nine. In thenth chapter of the thesis we can find detailed description of oboe d'amoure. Most important literature written for oboe "d'amoure" is found in chapter number eleven. Chapter twelve contains evolution of the instrument in 18th century and personates most significant players of their time. Number thirteen summarizes information about oboe in 19th century. The contemporary shape of oboe as well as its current world vendor offer we can find in the last fourteenth chapter of the thesis.
3
Hruška, Viktor. „Dílo vybraných osobností počátků dějin hudební teorie v českém jazyce“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177835.
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This thesis deals with the problematic of the early history of music theory in
czech lands from the foundation of the Charles University until the foundation of
the Prague Conservatory (it includes theorists such as Václav Philomathes, Jan
Blahoslav, Jan Josquin, Tomáš Baltazar Janovka or Jakub Jan Ryba). The second
part is deals with the peculiar music theorist and philosopher Karel Slavoj
Amerling.
4
Borůvka, Petr. „Vývoj houslového smyčce“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177817.
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The Thesis titled " Development of violin Bow " is focused on the creation and development of violin bow in its beginning and at the same time describes his historical development. It also speaks about major European violin bow producers of the past. In this work is also described in detail the production of violin bow and materials that are used on it.
5
Morozová, Tamara. „Vývoj dramatična v německé opeře“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364442.
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The main idea of this thesis is to describe the development of german romantic opera focusing on the significant evolution of its drama, in the musical, textual and finally the interpretative aspects. A selection from their artworks (with regard to the main topic of thesis) was difficult and highly subjective. They have created a lot of outstanding feminine roles, so I chose five heroines that have served me as individual milestones along the way for almost a century. They have provided me with a suitable structure to map artistic maturation and the development of new, original and completely unique operatic form.
6
Propilková, Denisa. „Karel Pivoňka a fagotová třída HAMU od jejího počátku do současnosti“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178009.
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The title of my master's thesis is Karel Pivoňka and Academy of Performing Arts in Prague and bassoon class from the beginning to the present. In the first chapter is the development of czech bassoon school and everything that preceded the bassoon class of Academy of Performing Arts. In the first chapter is subchapter where I mention the personality of Karel Bidlo, which also had an effect on the development of czech bassoon school. In the second chapter I discuss Academy of Performing Arts, the school and individual departments. In the third chapter describes the personality of Karel Pivoňka and in the subchapter are listed all the graduates of the Conservatory and the Academy of Performing Arts, which studied at prof. Karel Pivoňka. In the following chapter are the most significant graduates from the beginning to the present. The last chapter is an overview of most concerts and broadcasts for radio, which played Karel Pivoňka. Annex is scanned photo of Karel Pivoňka.
7
Viskotová, Edita. „Figarova svatba se zaměřením na roli hraběnky“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253653.
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This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation of his operas. The main part is the analysis of The Marriage of Figaro and the Countess role in various concepts. Conclusion of the thesis confirms the hypothesis of Mozart importance for the neo-classical opera.
8
Vrtiška, Vojtěch. „Současné cesty k umělecké hře na kytaru“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177765.
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Master´s thesis takes interest in basic technical and psychological prerequisites for reaching artificial guitar playing. The ways of solving technical questions are shown from historical and contemporary view. This thesis contains the comparison of Segovia?s and Tennant?s methods with my personal evaluation. In the case of playing position together with right and left-hand technique I add my own remarks and proposals.
9
Lieberzeit, Michal. „Don Giovanni - historie díla,jeho vznik a interpretace opery ve 20.století“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177883.
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The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.
10
Vovsová, Helena. „Orchestr Národního divadla“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177891.
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This masters thesis focuses on the National Theatre in Prague from its reopening in 1883 to now, season 2011/2012. It deals with his orchesra and important musical personalities of its members and conductors, and highlights the important points in this period.
In conclusion, the contribution of this paper expalins to the reader.
11
Štajnochrová, Adéla. „Houslový koncert L. van Beethovena a jeho interpretace“. Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177849.
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This thesis focuses on the Violin Concerto composed by L. v Beethoven, its interpretation and the changes in attitude towards the composition within the two centuries of its existence. The paper is divided in four chapters. First of all it provides information based on primary sources about the development and changes in the violin technique and interpretation. After that an insight into the fate of the concerto after its premiere occurs, followed by an account of its performers. The following chapters compare first the different editions of the concerto and later on its numerous recordings. A live recording of the concerto performed by the author accompanied by Musica Florea with the conducter Marek Štryncl makes part the thesis.
12
Švadlenková, Jana. „Vývoj interpretačních hudebních škol od 18. st. po současnost - lesní roh v Čechách, Německu a Francii“. Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-178074.
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My work deals with the development of methodologies for French horn. I present the original sources and analyze importatnt methodist like Domnich, Duvernoy, Fröhlich, Farkas and Kaucký. Moreocer, I mention successful personalities of pedagogy . I translated materials that have not been published in Czech language yet and thereby created an overview of already forgotten and for hornplayers important books. Than, chapters from selected schools are compared with basic attributes of hornplaying. I mapped the methods of conterporary teaching at prestigious music schools in France, Germany and Prague. I created a list of issued schools, etudes and methodologies for French Horn wich available in Europe.
13
Khinkov, Aitbayeva Nargiza. „Tradiční a soudobá hudba Kazachstánu 2. poloviny 20. století na příkladech tvorby současných autorů“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177737.
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These graduation work talk about the traditional and contemporary music of
Kazakhstan, especially in the second half of the 20the century. The aim was not
talk only about the folk composers and, on the other hand, academic composers,
but also to put out those composers, who have connections between these two
different styles. Here I put the names of the composers chronologically based
on their life periods and divided on the base of the several musicologists. I add
my list of composers, which is enlarged to the list of the composers from the new
generation. Additionally, I pay strong attention to all these selected composers
and show the music examples of the chosen composers. Especially, I analyze
compositions of those composers, who have a different musical style, different
music language and different way of composing.
14
Patcelt, Miroslav. „Přelomová 70. a 80. léta ve hře na tubu“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253742.
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The theme of this thesis is groundbreaking 70s and 80s playing the tuba. The work divided into four chapters and subchapters. In the first chapter I write about major tuba players 70s and 80s. The first chapter and its subchapters consider crucial part of this thesis. The second chapter presents the most important authors and their songs that were to develop playing the tuba very important. The third chapter is devoted to the International Association of tuba, which was created at that time and for progress in the style of playing the tuba, it was very important. The fourth chapter is devoted to an interview with Jim Self and Pavel Trnka.
15
Keiko, Michiyo. „Historie interpretace a poznání evropské hudby v Japonsku“. Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-253663.
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The history of European music in Japan: how people have changed their
perception, understanding and interpretation of it over the past 150 years.
During the reign of the Tokugawa Shogunate, Japan was closed off from the
rest of world. It was only with the arrival of US warships in 1853, that one year
later the country was forced to terminate its isolation. More than 150 years have
passed since Japanese people began to listen to and appreciate western music,
and it has been 136 years (1879) since Western music was first introduced into
the Japanese school education system.
150 years is not a long enough time-span. So how has the Japanese
approach to Western music developed in these years?
In this work, I consider the adoption and development of Western music in
Japan not only against a musical background but also from a historical
perspective; I take into account factors such as the development of Japanese
culture and industry not to mention the unique character and attitudes of the
Japanese people.
16
Cyhelská, Aneta. „Skladatelé židovského původu a jejich tvorba pro violu“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177908.
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The Magisterial thesis deals with composers of jewish ancestry and their viola compositions. It consists of three parts. The first part describes the
historical and religious context these composers lived in. The second part deals with the developement of jewish music and its characteristics. The last part is about the individual composers and their lives and works with focus on viola compositions.
17
Žáková, Lucie. „Význam českých skladatelů 2. poloviny 18. století“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177899.
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The topic of my Master's graduation thesis is the music of the 18th century and the importance of Czech composers in the context of the whole Europe.At the beginning of the work we are led into the historic consequences where there is a brief introduction of the political and social situation and where the status of a musician in the world of those times and his role are discussed. Then Czech musicality and its importance for European Classicism are referred to.In the following chapters the musical environment in the Czech lands are dealt with, together with the importance of Czech schoolmasters' families and castle orchestras in our countries. The consecutive chapter deals with the Czech emigration, music centres and institutions in Europe and other crucial events of the 18th century. The 8th chapter focuses on the types of compositions in the period of Classicism and their use in practice. The final chapter gives a detailed overview of the compositions for four hands for keyboard instruments in the 18th century, specifically the composers, music examples for compositions for four hands and at the very end the author's own experience of four-hands keyboard playing is shared.
18
Skalická, Štěpánka. „Různé aspekty generálbasové praxe ve světle historických a moderních pramenů“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177979.
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General-Bass is a certain characteristic system of writing and playing an accompaniment in the 17th and 18 century for keyboard and harmonic instruments used in chamber or orchestra music.
General-Bass evolved during those two centuries. First theoretical references of general-bass technique are dated around 1600. It was a renaissance motet technique die away and improvisation and polyphony baroque technique born time. Lodovico Viadanas treatise Cento concerti ecclesiastici from 1602 is a first written documented instruction of this technique.
Centre of general-basses development expanded from Italy to Germany and France. There was a separate specific evolve and theoretical treatises of general-bass in each country. Despite of the separation there was a influence and inspiration between of the particular country stiles of general-basses praxes.
The main representative are Francesco Gasparini, Georg Muffat and Francesco Geminiani in Italy Jean-Henri d´Anglebert, François Dandrieu, Michel de St. Lambert in France and Johann Mattheson, Johann David Heinichen and Johann Sebastian Bach in Germany.
Currently we are experiencing return of studies of historical general-basses treatises and arises modern textbooks of general-bass. There are two Czech translations of Jespera Bøje Christensens and Barbara Marie Willis textbooks available. Both authors based their textbooks on historical pedagogical systems and rules. Michel Laizé wrote textbook of General-Bass based on his own methodical scheme in 2001 in France.
19
Sokolov, Oleg. „Marimba - vývoj a současnost“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156081.
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The focus of my disseraion is to proces s essential information about the marimba. Due to the fact that there is putrid informaion available about the marimba in the Czech language, I decided to undertake the task of filling in this void with my thesis. The contents of the paper include a succinct and clear history of the musical instrument, followed by main information regarding the top marimba manufacturers, and most notable modern day performers. The work is divided into three major chapters , which are further divided into subsections , together with footnotes and video attachments at the end of work.
20
Kolařík, Tomáš. „Historie Severočeské filharmonie Teplice (od roku 1948 až po současnost)“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261364.
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In his master thesis the author provides a look into the history of The North Czech philharmonic Teplice, the only professional symphonic ensemble in the region of Ústí nad Labem, since 1948 until now. The work is divided into four main chapters. The first one gives an overview about the most significant conductors, which held a position of either a chief-conductor or a deputy. The second, crucial chapter brings an insight to the historical development of the orchestra, its changes and events, from the time of the re-establishment (1948) to the year 2016. In the third chapter, the author mentions the most important information about Ludwig van Beethoven music festival, of which The North Czech philharmonic Teplice is an organizer, and then gives a brief and incomplete list of the festival's seasons. The final chapter marginally sums up the work with the information about a new feature called "orchestra academy", inspired by the main czech orchestras. The thesis is attached with pictures showing the rehearsals and concerts environment in the time course and recent images of the orchestra, which enhance the possible plain and fact-like character of the whole work.
21
Havránková, Petra. „Koloraturní sopránová árie a její vývoj“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253666.
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This master thesis entitled "Development of coloraturas arias " is divided into several parts, which branch out into individual sections.
The first part deals with an explanation of basic terms of coloratura and aria, as they are described in encyclopedic dictionaries and encyclopedias. This part is followed by brief formal development of aria throughout ages.
I continue with the historical development of coloratura from the chapter Middle Age through the following era of renaissance and polyphony to the baroque, where I am describing the origins of opera as a dramatic genre. This part is divided into two parts , in which I describe the formation of coloratura aria and recitative and also the birth of other genres in which are coloratura arias widely used. The next chapter is devoted to the phenomenon of the eunuchs, who contributed to the expansion of coloratura arias around the world. The chapters Alessandro Scarlatti, Georg Friedrich Handel and Johann Sebastian Bach, mention their compositional techniques and also examples of work with coloratura and their contribution to the future generations. The following Classicism brings compositional techniques of Wolfgang Amadeus Mozart and his work. The next chapter, the romantic period, is dedicated to "Belcanto composers" Rossini, Bellini and Donizetti, who had contributed to the trend of coloratura techniques. Giuseppe Verdi was the last representative of belcanto era. In the penultimate chapter I write about selected roles that might be suitable for coloratura soprano and in the end I describe my relationship with the soprano voice in coloratura field.
22
Boiprav, Anna. „Evoluce violoncellových koncertů Karla Davydova“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253866.
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This master thesis is focused on analyzing the development of cello concerts written by Russian composer, respected cellist and teacher Karl Julievich Davydov. In the first place, the analysis is about the upward development of the genre – from virtuosic type of concerts to virtuosic-symphonic type of cello concerts.
This thesis is divided into three main chapters. The first chapter in the three subsections is focused on typing and characterization of string concerts. The second chapter in the six subsections devoted to the context of Western European traditions and peculiarities of the development of cello art in Russia. The third chapter in two separate sections and four smaller subsections focus on the personality of Karl Julievich Davydov, periodization of his work and analysis of his cello concerts.
23
Raková, Iva. „Historie a současnost pražských klavírních trií“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-252289.
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The core of this MA thesis is to map Prague piano trio-ensembles from the beginning of the 20th century up to nowadays. It deals with history of such ensembles like Czech and Smetana Trios including their contemporary successors; it mentions Suk, Foerster, Prague and New Prague Trios, trios containing the name of Antonín Dvořák in its title including new Dvořák Trio renamed from Trio Concertino. Neither renowned Guarneri Trio Prague nor younger ensembles, established in the 1990s and after 2000 (Trio ArteMiss, Kinsky Trio Prague, Orbis Trio i.e.), are absent in the list.
This thesis also explores history of the genre of piano trio from 18th century on, presents the way a pianist should work as a chamber player and touches also past and present Czech institutions and organizations supporting performing chamber music in our country. In connection with these aspect the thesis mentions also possibility of new MA studies of chamber music at the Academy of Performing Arts in Prague. Finally, the author considers current chamber local and international music industry and its influence on artistic work in a piano trio.
24
Strejčková, Lenka. „Historie českých smyčcových kvartet“. Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177822.
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Annotation in English
My graduation work talking about the Czech string quartets shows the
description about the most important and in my opinion the most successful
string quartets in the Czech Republic that has strongly influenced the way of
musical apperance of the contemporary string quartets in the CR.
I am putting into my graduation work the information about the Czech string
quartet chronologically in the historical order starting with the Czech String
Quartet.
My intention is, also, to provide the information about the job activities of the
Czech contemporary string quartets that are representing the Czech culture and
the musical tradition abroad.
I am observing, through my graduation work, the way how the Czech string
quartets change the musical interpretations that has been changed after several
decades.
However, there are no doubt that the Czech string quartets are still representing
our country abroad.
25
Helcelet, Lukáš. „Zpracování historie v moderním hudebním divadle“. Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404157.
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The thesis focuses on portraying historical events in musical theatre pieces. It explores especially the historical musical Hamilton that became a phenomenon in the field. The musical narrates the story of Alexander Hamilton and historical events that led to the foundation of the United States of America. The first part of the thesis analyses how the musical Hamilton portrays historical phenomena, events and personalities. It also explores various methods how they are staged. The results of this analysis will be used for comparison of musical Hamilton with other contemporary musicals. In the final part the thesis points out the possibilities of usage of modern musical theatre in history education.
26
Nykl, Boris. „Frenštátští skladatelé - ozvěny minulosti v současné hudební výchově“. Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-446425.
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This thesis discusses the history of music in the city of Frenstat pod Radhostem at the turn of the 18th and 19th century, especially regarding the pastoral compositions made by local composers. It presents their life and work and also presents a complex historical contexts. An educational material was developed as a part of this thesis, it could be used in education, as well as in leisure time sector. These materials also include sheet music for potential practical use. Moreover, an analysis, transcription and digitization of selected works are also introduced in this thesis.
27
Kroupa, Jiří. „Jezuité a hudební kultura v Praze v letech 1556-1623“. Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-408411.
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This thesis contributes to our knowledge of the early (modern) Bohemian musical culture by tracing the musical production and activities at the Jesuit Clementinum college in Prague from its foundation in 1556 to the establishment of the autonomous Bohemian Province in 1623. This analysis draws on original Jesuit archival documents (diaria / diaries, memorial books, catalogi personarum / personnel catalogues, litterae annuae / annual letters, historiographical works of the period) and wider primary sources, which the author interprets within broader socio-cultural and historical realms. Authentic testimonies written in Latin that document musical activities in the Clementinum and the relationship of Prague Jesuits with music are included in the footnotes or in appendices. Individual chapters seek to illustrate (illustrare) and assess (recensere) the materials investigated from the following points of view: 1) institutional (Order, College, associated sodalities); 2) environmental acoustics (broader sound production within the spaces of the College and the rest of the city); 3) prosopographical (music prefects of the College and of the Marian Congregation); 4) surviving musical sources; 5) ceremonies with musical components (liturgical and paraliturgical ceremonies, graduations, congregational...
28
Michl, Jakub. „Hudební kultura v konventu alžbětinek na Novém Městě Pražském“. Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.
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Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...
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Rychlík, Martin. „Industriální hudební avantgarda v podobě Electronic Body Music (příspěvek k dějinám elektronické hudby)“. Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-267376.
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V předkládané DP, určené k obhajobě na Katedře kulturologie FF UK, jsem se pokusil shrnout důležité aspekty ve vývoji jednoho druhu moderní hudby, který bývá nazýván industriálem, a jeho nejpřístupnější taneční odnoži tzv. Electronic Body Music (EBM). Domnívám se, že zvolený postup ukázal na mnoho zajímavých faktů, které vesměs akademická obec (dokonce i odborná muzikologická) nebere v potaz, přestože je třeba obracet zrak i k nejnovějším a různorodým formám kultury. 84 V DP jsem přiblížil stěžejní publikované práce k tématu, definoval pojem této hudby, představil její historii a význačná hudební alba, přičemž jako případovou studii jsem zvolil slavnou skupinu Front 242, jejíž další přiblížení je též náplní příloh. Důležitou součástí je ukázka, jak funguje EBM tvorba a komunita, v čem je specifická, jací jsou lidé, kteří takovou muziku poslouchají a jaké má tento hudební styl obsahy. Otázkou zůstává, jak by se s fenoménem EBM vypořádali odborní muzikologové, kteří se elektronickou hudbou zabývají na obecnější rovině: "Hudba a elektronika současně jako nový Gesamtkunstwerk nebo komerce a zastírání ne-umění anebo snaha o nové jako výraz doby?" ptá se například hudební sociolog Miloš Schnierer (1995:63). Tento text by si samozřejmě zasloužil další pokračování, tím spíše, že jsem si vědom prostoru k dalšímu...