Relevant bibliographies by topics / Dvořák

Academic literature on the topic 'Dvořák'

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Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Dvořák"

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Murár, Tomáš. "“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?" Ikonotheka, no. 30 (May 28, 2021): 9–29. http://dx.doi.org/10.31338/2657-6015ik.30.1.

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This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.
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Branda, Eva. "Speaking German, Hearing Czech, Claiming Dvořák." Journal of the Royal Musical Association 142, no. 1 (2017): 109–36. http://dx.doi.org/10.1080/02690403.2017.1286129.

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ABSTRACTDiscussions of Dvořák's Sixth Symphony typically focus on its connections with Vienna. Dvořák wrote the symphony for the Vienna Philharmonic and dedicated it to Hans Richter. Its allusions to Brahms and Beethoven led David Brodbeck to describe it as a piece in which Dvořák ‘speaks German with an unusual degree of clarity’. Contemporary Czech critics tell a different story. After its 1881 Prague première, the work was dubbed the ‘Czech Spring Symphony’. One critic stated that it ‘speaks to us in pure Czech’. Indeed, the Sixth is Dvořák's only symphony to include a furiant, and Czech scholars have long sought to prove that the work's themes were derived from Bohemian folk songs. Can these narratives be reconciled? This article suggests that political tensions and Dvořák's growing international renown made Czech critics eager to claim him, giving Czech labels to a piece that could be interpreted as conforming to the Austro-German tradition.
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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.
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Vejvodová, Veronika. "Antonín Dvořák in the Notes of the Traveller Josef Kořenský and Czech Society in America in 1893." Musicalia 11, no. 1-2 (2020): 114–49. http://dx.doi.org/10.37520/muscz.2019.004.

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The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ’80s and in New York, where the two men met in late May and early June of 1893. There is a detailed description of the voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořák family, and the violinist Karel Ondříček. The connections between Kořenský’s journey to America and the Czech patriotic milieu also receive attention.
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Pines, Roger. "Rusalka. Antonín Dvořák." Opera Quarterly 7, no. 3 (1990): 148–50. http://dx.doi.org/10.1093/oq/7.3.148.

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Notley, Margaret. "Brahms, Dvořák, Suk." Nineteenth-Century Music Review 4, no. 1 (June 2007): 146–48. http://dx.doi.org/10.1017/s1479409800000161.

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Vejvodová, Veronika. "Rané písně Antonína Dvořáka: literární předlohy, rukopisné fragmenty, nakladatelé." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 30–38. http://dx.doi.org/10.37520/mmvp.2022.015.

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In his songs from 1865–1882, Dvořák used poems by Czech authors Adolf Heyduk, Eliška Krásnohorská, Karel Jaromír Erben, Serbian folk songs translated by Siegfried Kapper (Czech-German author), Vítězslav Hálek and poems from the Dvůr Králové Manuscript. Most of the texts were probably obtained through Jan Ludevít Procházka, the important figure of Czech cultural life, who initiated Czech song writing for the concerts he organised in Prague. Some of Dvořák’s songs and cycles have survived in fragmentary form (Rozmarýna, s. op. and Like the Moon in the Heavens, No. 12 from Evening Songs, s. op.), some in the two different versions (the song Bouquet from Songs on Words from the Dvůr Králové Manuscript, op. 7). For the purposes of the Simrock edition, the composer arranged the song for the mezzo-soprano Amalie Joachim. Shortly after Dvořák’s establishment of cooperation with the Berlin publisher Simrock, this important publisher released Songs on the Words of Serbian Folk Poetry and four of the Songs on the words from the Dvůr Králové Manuscript. The singer Joachim supported the publishing of these editions, which were also dedicated to her by Dvořák.
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Cigoj Krstulovič, Nataša. "Nacionalni in transnacionalni vidiki glasbe: študija primera zgodnje recepcije Dvořákovih del na Slovenskem." Musicological Annual 51, no. 1 (June 1, 2015): 97–114. http://dx.doi.org/10.4312/mz.51.1.97-114.

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Študija primera zgodnje recepcije Dvořákovih del na Slovenskem je izhodišče za opazovanje v muzikološki misli izpostavljenega razmerja »slovanske« in »nemške« glasbe in vnovične osvetlitve vprašanja med nacionalnim in transnacionalnim v glasbi evropskega prostora na prelomu 19. in 20. stoletja. Članek prikaže praizvedbe Dvořákovih del v Ljubljani skozi prizmo poustvarjalnih zmožnosti ter recepcije glasbe pred prvo svetovno vojno. Izpostavljeni so kritiški odmevi ob krstnih izvedbah, še zlasti kantate Mrtvaški ženin(Svatební košile) z ljubljanskim zborom Glasbene matice na Dunaju, ko je dirigiral Dvořák (1896) in prikazan zvezek samospevov, ki ga je Fran Gerbič posvetil Dvořáku.
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Campo-Bowen, Christopher. "Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music." 19th-Century Music 40, no. 2 (2016): 159–81. http://dx.doi.org/10.1525/ncm.2016.40.2.159.

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Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and performances in many other European cities before sliding into obscurity after the turn of the twentieth century. I situate Píseň bohatýrská in both the context of Dvořák's larger output and the critical discourses of the late nineteenth century, using it as a focal point to examine not only Dvořák's mythologized image as a composer at the fin de siècle, but the history of the symphonic poem, the politics of the Vienna-Prague critical axis, and the hardening of critical orthodoxy in the twentieth century. Through an in-depth study of Píseň bohatýrská's reception, I reveal a picture of Dvořák at once familiar and unfamiliar: as the naive, spontaneously creative absolute musician at odds, in the eyes of the critics, with the unfamiliar territory of the symphonic poem, and as a specifically Czech musician who was nevertheless placed in the same masculinized, Germanocentric composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák's image near the end of his life, inviting a reconsideration of the composer.
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Gabrijelova, Jarmila. "Antonín Dvořák and Richard Wagner." Muzikologija, no. 6 (2006): 305–16. http://dx.doi.org/10.2298/muz0606305g.

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The essay deals with the relation of prominent Czech composer Anton?n Dvo??k (1841?1904) to the personality and work of Richard Wagner (1813?1883). As opposed to the common opinions linking Dvo??k?s name with Wagner?s ideological opponents and placing his ?Wagnerian? period in the early phase of his career only, our examination shows that Dvo??k?s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life.
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Dissertations / Theses on the topic "Dvořák"

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

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This thesis describes works and life of one of the most important Czech composer of the 19th century - Antonín Dvořák. This work focuses on Dvořák ś musical legacy and especially on his opera work ´s. It also describes briefly life and works of au outstanding poet and librettist Jaroslav Kvapil and his later co-operation with Antonín Dvořák with whom Kvapil worked on the opera "Rusalka". The most extensive chapter of this thesis focuses on a detailed analysis of the content and of the musical dramatic composition of "Rusalka". The last part of this work describes the circumstances of the first nigth of "Rusalka" in the National Theatre changes of its later conception in the 21st.century.
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Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf." Kansas State University, 2012. http://hdl.handle.net/2097/13747.

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

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Die Jubiläen zu Antonín Dvořák haben sich Anfang der 1990er Jahre gleichsam überschlagen. 1991: 150. Geburtstag des Komponisten; 1992: 100jähriges Gedenken an den Beginn von Dvořáks dreijährigem Wirken in Amerika; 1993: 100jährige Wiederkehr seines Besuches in Spillville (Iowa) und zugleich 100 Jahre Sinfonie aus der Neuen Welt. Gedenkfeiern, Symposien und Kongresse an vielen Orten der Welt (New Orleans, Saarbrücken, Hamburg, Dobříš, Spillville) und zugleich eine Vielzahl von Impulsen für das internationale wissenschaftliche Interesse an diesem tschechischen Komponisten, das in zahlreichen 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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Rockwood, Mark. "Form, Style, and Influence in the Chamber Music of Antonin Dvořák." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22726.

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The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of 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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Hrbáčková, Noema. "Antonín Dvořák s jeho písňová tvorba se zaměřením na písně milostné." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78568.

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This work deals with song works of the famous czech composer Antonín Dvořák. The first chapter includes short autobiography and composition style of this music personality. The main part of this work includes his songs, first of all cycle "Love Songs op. 83". I tried describe the most important moments and technical problems of interpretation.
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Sup, Tomáš. "A.Dvořák"Rusalka" práce na hlavní roli." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202909.

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The tenor figure of princ, three-act opera, " Rusalka" by Antonín Dvořák, was a long time with its character, singing difficulty and technical extremity , a big challenge for me. So l decided after two years of studying this role, write a magister thesis about princ, think about his character and its overall by the creation from the very beginning to the hardest singing party at the end of the opera.
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Döge, Klaus. ""... über den wird noch viel geredet werden": ein Einblick in die neuere Dvořák-Literatur." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 217-230, 1997. https://ul.qucosa.de/id/qucosa%3A15327.

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Die Jubiläen zu Antonín Dvořák haben sich Anfang der 1990er Jahre gleichsam überschlagen. 1991: 150. Geburtstag des Komponisten; 1992: 100jähriges Gedenken an den Beginn von Dvořáks dreijährigem Wirken in Amerika; 1993: 100jährige Wiederkehr seines Besuches in Spillville (Iowa) und zugleich 100 Jahre Sinfonie aus der Neuen Welt. Gedenkfeiern, Symposien und Kongresse an vielen Orten der Welt (New Orleans, Saarbrücken, Hamburg, Dobříš, Spillville) und zugleich eine Vielzahl von Impulsen für das internationale wissenschaftliche Interesse an diesem tschechischen Komponisten, das in zahlreichen 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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Jamník, Tomáš. "Violoncellové koncerty Antonína Dvořáka." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253655.

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The first part of the dissertation examines all of the orchestrated versions of Dvořák's Cello Concerto in A major.The analysis is based on graphs, which show the cuts in every version. The work of Günter Raphael and Jarmil Burghauser's version are looked at in close detail. The second part of the dissertation analyses tempo changes in all of the Czech recordings of the concerto. Original graphs show the differences between tempo marks in the autograph version and in recordings.
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Grešlová, Alena. "Klavírní koncert Antonína Dvořáka." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-363547.

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The main goal of this thesis the introductiom to the czech romantic piano literature. The first part contains a brief introduction to the origins and analysis from the musical perspective. In chapter two I concentrate on the technical and phonic parameters of the work. Apart from Dvorak's solo piano excerpts, one can take notice of excerpts from the revided version done by Vilem Kurz - and confrontation of both. There are 4 groups in which the main differences between the two versions are divided. The last chapter contains a summary of performance experience by interviews with famous pianists - Ivan Klansky, Martin Kasik and Ivo Kahanek.
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Bogner, Ryan. "A study of the factors that influence compositions of common texts with an emphasis regarding the text of Te Deum settings by Antonín Leopold Dvořák and Franz Joseph Haydn." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/9096.

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Master of Music
Department of Music
Joshua Oppenheim
Julie Yu Oppenheim
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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Books on the topic "Dvořák"

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Dvořák. London: Haus Pub., 2004.

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

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International Musical Festival (26th 1991 Brno, Czech Republic). Mozart, Dvořák a dnešek =: Mozart, Dvořák, and today. Brno: Mezinárodní hudební festival, 1991.

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

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Walter, Wiese. Tschechische Kammermusik: Smetana, Dvořák, Janáček. Winterthur: Amadeus, 2004.

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

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

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

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

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

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Book chapters on the topic "Dvořák"

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Döge, Klaus. "Antonín Dvořák." In Kammermusikführer, 166–83. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_32.

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Döge, Klaus. "Dvořák, Antonín." In Komponisten Lexikon, 174–77. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_87.

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Döge, Klaus. "Dvořák, Antonín." In Komponisten, 87–90. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_17.

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Paclt, Jaromír. "Dvořák, Antonín (Leopold)." In Metzler Komponisten Lexikon, 228–31. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_91.

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Smaczny, Jan. "Dvořák: The Operas." In Dvorak and His World, edited by Michael Beckerman, 104–33. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.104.

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Krigar, Hermann. "Antonín Dvořák: A Biographical Sketch." In Dvorak and His World, edited by Michael Beckerman, 211–29. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.211.

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Beveridge, David. "Dvořák and Brahms: A Chronicle, an Interpretation." In Dvorak and His World, edited by Michael Beckerman, 56–91. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.56.

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Horowitz, Joseph. "Dvořák and the New World: A Concentrated Moment." In Dvorak and His World, edited by Michael Beckerman, 92–103. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.92.

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Aurenhammer, Hans. "MAX DVOŘÁK. DENKMALPFLEGE ALS PRAKTISCHE REALISIERUNG DER KUNSTGESCHICHTE IN DER MODERNE." In Max Dvorak, 14–16. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792314.14.

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Beckerman, Michael. "The Master's Little Joke: Antonín Dvořák and the Mask of Nation." In Dvorak and His World, edited by Michael Beckerman, 134–54. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.134.

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Conference papers on the topic "Dvořák"

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Srinivas, Mullahalli V., and George J. Dvorak. "Energy Released by Interfacial Decohesion in a Two-Phase Composite System." In ASME 1998 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/imece1998-0356.

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Abstract Under service loads or during fabrication and processing, certain fibrous composite plies may experience extensive decohesion, such as debonding and sliding at fiber-matrix interfaces. The effect of some of these damage processes on overall stiffness and on internal stress redistribution is analyzed here with the Transformation Field Analysis method (Dvorak and Benveniste, 1992, Proc. R. Soc., London, Vol. A437, p. 291), which simulates creation of new internal surfaces by equivalent eigenstrains applied to an undamaged elastic system. Simple expressions for change in potential energy of the damaged ply are also obtained using the Colonetti’s theorem. The analytical results are shown to be in good agreement with selected finite element solutions for unit cells. Applications indicate that the energy released by fiber debonding depends linearly on fiber radius.
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Rice, Alyssa, Gabrielle Longo, Faith Shank, and Clayton Neighbors. "Just Say No: The Relationship between Conformity Motives, Refusal Self-Efficacy, and Cannabis-Related Consequences." In 2021 Virtual Scientific Meeting of the Research Society on Marijuana. Research Society on Marijuana, 2022. http://dx.doi.org/10.26828/cannabis.2022.01.000.03.

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Cannabis use on college campuses is common, with more than half of students reporting use within the past year (Schulenberg, et. al, 2020). Additionally, a 2017 study found that approximately 90% of past-month cannabis users reported having experienced at least one negative consequence (Pearson, Liese, & Dvorak, 2017). Numerous studies have evaluated the association between conformity motives and cannabis-related consequences such as driving under the influence or poor academic performance (Glodosky & Cuttler, 2019; Lee, Neighbors, & Woods, 2007). Research suggests that while those users who endorse conformity motives generally report lower use and frequency (Zvolensky et al., 2007), they may be at high risk of experiencing negative cannabis-related consequences (Buckner, Walukevich, & Lewis, 2019). One construct that has been shown to predict lower cannabis-related problems in young adults is refusal self-efficacy (Papinczak, Connor, Harnett, & Gullo, 2018; Hayaki et al., 2011). Refusal self-efficacy in relation to cannabis use is one’s belief that they will be able to resist, refuse, or turn down cannabis when offered. As refusal self-efficacy is prominent in conformity-driven situations, it is important to understand how refusal self-efficacy may mediate the relationship between conformity motives and cannabis-related consequences. As this relationship has not yet been tested we aim to examine this mediational relationship. We hypothesized that refusal self-efficacy mediates the relationship between motives and cannabis-related problems, such that refusal self-efficacy explains the preexisting relationship between conformity motives and problems related to cannabis use. Participants included 567 undergraduate students (49.02% White, 77.21% female). Cannabis use prevalence among the sample was 61.25% lifetime, 36.53% within the past 6 months, and 28.92% within the past 30 days. The relationship between conformity motives, refusal self-efficacy, and problems was examined using structural equation modeling in STATA Version 15.1. Results found that The relationship between conformity motives and cannabis-related problems was partially mediated by cannabis refusal self-efficacy. The direct path from conformity motives to problems was significant and positive (B = .167, SE = .063), indicating a competitive mediation (Zhao, Lynch, & Chen, 2010). The standardized regression coefficient between conformity motives and refusal self-efficacy was statistically significant (B = -.337, SE = .053), as was the standardized regression coefficient between refusal self-efficacy and cannabis-related problems (B = -.411, SE = .06). We tested the significance of the indirect effect using bootstrapping procedures. Unstandardized indirect effects were computed for each of the 5,000 bootstrapped samples. The bootstrapped unstandardized indirect effect was .357, and the 95% confidence interval ranged from .180, .533. Thus, the indirect effect was statistically significant. This indicates that part of the reason that those with conformity motives have cannabis-related problems is due to their inability to refuse cannabis when offered. However, due to the fact that this was a partial mediation, there are other potential mediators to be accounted for, such as social anxiety (Buckner & Schmidt, 2008).
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