Dissertations / Theses on the topic 'Symphony 19th century Austria'

Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.

This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France.
Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.
My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.

The nineteenth century was a time of musical and cultural growth in the United States. Six of the major orchestras which exist today were established during this time. From the birth of the New York Philharmonic in 1842 through the founding of the Philadelphia Orchestra in 1900, audiences that valued orchestral music provided an impetus for professional orchestral development.A comprehensive review of the events leading up to the establishment of the New York Philharmonic, Boston Symphony, Chicago Symphony, Cincinnati Symphony, and Philadelphia Orchestras provides a basis for understanding the nature of professional orchestral trombone playing in the United States before 1900. It was found that orchestras were established in a common manner though growth was often retarded by social and economic factors. The Civil War, especially, was an event which momentarily hindered the growth of American symphony orchestras.Biographical data about the orchestral trombone players of the nineteenth century is very incomplete in the standard texts for American music history. A registry of orchestral trombonists in the United States during this period identifies 65 trombone players who were active in major symphony orchestras. An examination of the lives of some of the better-known orchestral trombonists shows that most of these musicians immigrated from Germany. The largest number of these musicians seem to have immigrated during a period from about 1870 to 1900. These capable musicians were leaders in the development of orchestras whose personal performance was reported to be of high quality. Especially influential was Frederick Lesch, a trombonist in the Theodore Thomas Orchestra and the New Philharmonic, who served as a principal player, bass trombonist, and soloist. His performance of Ferdinand David's Concertino for Trombone and orchestra is a landmark in the growth of orchestral trombone playing.A review of literature which includes a listing of all pieces performed by major orchestras during the nineteenth century establishes the repertoire of the orchestral trombonist of the period. Through analysis of this repertoire, the technical requirements for orchestral trombone playing are established. Technique, pitch range, and dynamic range were areas where the greatest demands were made upon the players. The orchestral trombonists of the nineteenth century were indeed pioneers who set the stage for today's orchestral trombone players.

Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.

This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential. In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations. Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.

Franz Liszt's Faust Symphony has suffered neglect since its premiere in 1857. The analysis in this study aims to clarify some of the misunderstandings which have led to this neglect, particularly concerning Liszt's formal structure and character portrayal. In the Faust movement, the flat 6th scale degree (♭6) plays a prominent role in harmonic organization. Nineteenth-century composers sometimes used the distinct sonic color of chromatic-third progressions, as Liszt does here between C and E rather than diatonic movement by fifth to evoke a distant dream-world state. Liszt's conspicuous and form-defining use of ♭6 in the Faust movement suggests fantasy and mysterious elements ripe for programmatic interpretation. In this dissertation, I will attempt to clarify how Liszt portrayed the character of Faust by using the flat 6th scale degree as a crucial harmonic organizing principle in the Faust movement.

Writing in 2001, musicologist Axel Klein concluded that Stanford’s reception history has been significantly impacted by the complicated national identities surrounding both the composer and his music. A lifelong devotee of the nineteenth-century Austro-Germanic tradition, Stanford’s status as an Irish-born leading figure of the ‘English’ Musical Renaissance has compromised the place that the composer and his musical output occupy within the history of Western music. Stanford is well-known for being an outspoken critic on matters musical and Irish. Although his views seldom appear ambiguous, there is still a sense that the real Stanford remains partially obscured by his opinions. Through an examination of his symphonic works, this thesis seeks to readdress our understanding of Stanford and his relationship with Ireland and the musical community of his time. Although A. Peter Brown has stated that the symphony was not a central genre for the composer, it is my argument that, on the contrary, the symphony was a pivotal form for him. Considering these works within the broader history of the symphony in Europe in the nineteenth century, and through a critical examination of Stanford’s relationship with Ireland, this thesis seeks to demonstrate that these seven works can be read as an allegory for the composer’s relationship both with his homeland and with the musical community of his time. His struggle to combine the universality of symphonic expression with a need to articulate his Irish identity parallels Stanford’s own attempts to integrate himself within both British and European musical communities, and further demonstrates, in his eventual rejection of it, that it was only when he attempted to forge a more individualistic path through his music that he found a way of expressing his individual Irish identity.

In a series of landmark rulings on patient mobility and cross-border healthcare, the European Court of Justice (ECJ) has made clear that Member States’ healthcare systems have to comply with the rules of the EU’s Internal Market when it comes to individual patient rights and the non-discrimination of healthcare providers. The rulings increased the possibilities for EU Member State citizens to get medical treatment in another Member State (“cross-border healthcare”), yet providing that under certain conditions the home Member State has to pay for these treatments in the other country. After a decade of negotiations, these rulings have been codified in a European Directive. Assuming that European integration has an impact on national welfare states and taking the example of European rules on access to cross-border healthcare, this thesis suggests analyzes the domestic impact of European integration in terms of Europeanization of the Austrian healthcare system within the context of the interplay between actors’ interests and practices on the one hand, and institutional effects on the other. European cross-border healthcare in forms of regional projects and privately or publicly organized healthcare arrangements has already become a reality in many European countries, especially in border regions. The main research questions which guides this thesis can be be put as follows: How does European integration in healthcare impact on the interests, practices and strategies of national actors that operate between national institutional constraints and European opportunities? And if national actors’ interests and strategies change, does this in turn have repercussions on the national institutional rules of healthcare governance? Given that European integration in healthcare delivery is a rather a “recent” phenomenon, and based on the assumption that actors’ strategies change more easily than national institutions, the following hypothesis is tested: Even if national healthcare actors use Europe – and hence their practices and strategies change – their interests remain largely determined by the national institutional set-up of the healthcare system. The institutional boundaries of the national healthcare system may have become porous, but for the time being they remain intact. The main findings of this study confirm the hypothesis and can be summarized as follows: Austrian actors responsible for the delivery of healthcare actively integrate various usages Europe into their existing practices of healthcare governance. These usages of Europe are more frequent at European level than at national level. Those actors who have important legal competencies, financial resources, and hence power in healthcare governance at national level, are also in a better position to use Europe effectively than those actors who lack such national resources. Limited usages of Europe at national level by corporate actors can best be accounted for by practices of consensually governing a typically Bismarckian healthcare system. None of the actors analysed, no matter how critical their stance vis-à-vis their own healthcare system might be, puts into question the legitimacy of the national healthcare system in the light of increased European competencies in regulating cross-border healthcare. Advancing European integration, mainly through the ECJ’s rulings on cross-border healthcare, might have rendered national institutional boundaries porous, but national institutions retain – at least for the time being – their power of channelling actors’ interests and of influencing corresponding practices of healthcare governance. These results invite us to further investigate which kind of healthcare governance structures are being developed at European level in parallel to those existing at national level, and to what extent Bismarckian welfare regimes might be showing resistance to institutional change induced by European integration.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished

Lorsque l’on évoque la symphonie en France au milieu du XIXe siècle, on ne retient généralement que le nom de Berlioz et l’on insiste sur une désaffection du genre tant de la part des compositeurs que du public. Pourtant, malgré un recul des créations, malgré le défi posé par l’héritage beethovénien et alors même que le contexte musical favorise principalement la scène lyrique, une soixantaine de compositeurs continuent à s’intéresser au domaine exclusivement instrumental de la symphonie et assurent le maintien d’un genre entre 1830 et la génération franckiste. Au-delà de son aspect historique, cette thèse vise à cerner les caractéristiques stylistiques de tout un ensemble d’œuvres, à les situer dans l’évolution d’un genre en les analysant à la fois par rapport aux normes viennoises, aux productions contemporaines germaniques et aux avancées plus générales du langage. Après une première partie centrée sur le contexte musical qui a vu naître ces symphonies, les enjeux pédagogiques qu’elles suscitent et le rôle décisif des sociétés orchestrales, l’analyse entre au cœur des partitions dans une démarche comparative à la fois quantitative et qualitative, depuis l’agencement interne des plus petits éléments musicaux jusqu’à la réalisation de la grande forme. À travers l’observation des pratiques globales et individuelles qui concourent à une réévaluation des normes, à la refonte ponctuelle mais progressive des cadres, se dégagent l’autonomie d’un genre par rapport à son modèle germanique et la permanence d’une école symphonique française tout au long du XIXe siècle
When one deals with the symphony in mid-19th century France only the name of Berlioz comes to mind and one emphasizes a disaffection for the genre among composers as well as audiences. However, despite fewer creations, despite the awe-inspiring Beethovenian legacy and despite the overwhelming place held by the operatic scene during those decades, some sixty composers around Hector Berlioz still devoted themselves to the purely instrumental genre and achieved the development of the symphony between 1830 and the Franckist generation. Beyond its historical relevance, this doctoral dissertation aims at defining the stylistic features of a corpus of symphonic works and at placing them in the evolution of the genre by analyzing them in relation to Viennese standards, to contemporary Germanic productions and to the more general innovations in the musical language. After first focusing on the musical context in which these symphonies were composed, on the pedagogic stakes entailed and on the decisive role of orchestral societies, the analysis will then closely examine the scores in a quantitative and qualitative comparative approach moving from the internal construction of the smallest musical elements to the completion of the large form. The autonomy of a genre distinct from its Germanic model and the permanence of a French symphonic school throughout the 19th century will emerge thanks to the observation of collective and individual practices which contributed to a reassessment of norms, to a selective but gradual revision of musical forms

Bibliography: p. 726-753.
2 v. (753 p. ; [551] p.) : music ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, Elder School of Music

The main aim of the thesis is to present an analysis of the younger Bohemian branch of Sternberg dynasty. The author follows the life of Zdeněk Sternberg († 1900) in his role of an owner and a successful caretaker of the dominions of Radnice, Český Šternberk and Jemniště. Furthermore, the problematic of aristocratic marriages is reconstructed through studying the fates of his sons Alois († 1907) and Filip († 1924). This theme was supplemented by identifying those values which were of consequence when an adequate partner for a member of aristocracy was sought. The problematic is demonstrated on the situations of both Alois who spent all his life as a bachelor and his younger brother Filip who married and enjoyed a family life. The private world of three Zdeněk's daughters is also reconstructed. The examples of Zdenka Schnönborn († 1915) and Kunhuta Lobkowicz († 1916) offer an insight into their daily dealings within their new families while the youngest sister Karolína († 1930) spent her years unwed and childless. The particular style of aristocratic life is demonstrated on interests and entertainment which the aristocracy fostered (travelling, hunt, horsemanship, artistic interests, sport, games, reading, theatre etc.). The final part of the work focuses on disputes surrounding the issue of...

The thesis is focused on cruises of Austrian and Austro-Hungarian navy's ships in remote areas. These cruises called "Missionsreisen" were undertaken to train the crews in different conditions, but staffs were correcting maps, looking into local markets and weather conditions as well and they might have been able to carry out more scientific research. The first that big cruise was the expedition of frigate Novara. On the base of research consisting of studying the reports written by commanders of various ships is possible to say that this expedition was very different from the later cruises. Apart from general conditions on the ships, the differences were in the purpose of cruises or scientific benefits. Novara's expedition was focused on science much more than later missions for which were exploring local conditions in terms of navigation and economy the most important or almost the only ones fields of research. The ships' commanders had to see to the training of crews and the economy of cruises, especially in terms of consummation of coal. Tens of ships were sent to these missions, the investments into them were most likely reasonable. Powered by TCPDF (www.tcpdf.org)

This study has investigated the influence of Central Italian folk music in select compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean Sibelius. Through the titles of these pieces, one can infer that they were influenced by the composer living in Italy, or visiting, on holiday. This study also includes a brief history of the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of the more modern 19th-century genre. A review of the evolution of the state of ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry, carnevale, and processions within the region of Italy is included. Further, I provide information on tonal and instrumental characteristics and specific folk dances to aid in the investigation of the treatment of folk melodies within 19th-century pieces. The result of this research not only provides a more accurate interpretation of stylistic issues when 19th-century works containing Italian folk-music attributes are performed, but also the knowledge that the title of a piece does not necessarily indicate a musical significance. Some works exhibit a direct musical influence while others are “Italian” in name only.
School of Music

胡麥爾(1778-1837)是一位奧地利鋼琴家、作曲家、教師及指揮家，生前與貝 多芬齊名，被譽爲是當時歐洲最重要的鋼琴作曲家之一。可是近代的學者和聽眾對他的評價甚低，認爲他的音樂作品守舊、媚俗、不能登大雅之堂。
本文借鑒胡麥爾創作時期的文化背景，重新評價這位被忽視的音樂家對於開 發十九世紀鋼琴音樂所作出的貢獻。十八世紀後期中產階級的興起令音樂會 不斷增加，鋼琴演奏家不但成爲音樂會中的主要角色，而且他們所演奏的 「流行音樂」對於後世鋼琴技巧及音樂創作的發展，有舉足輕重的影響。
胡麥爾的鋼琴作品顯露出嶄新的作曲手法，當中包括較自由的轉調和曲式結 構，以及特別的音形法等，均源自音樂會中常出現的即興演奏，亦即「幻想 曲風格」。胡麥爾在正統器樂體裁的語境中引入幻想曲的技法，展示出流行 曲風格與正統音樂的結合，並開創了混合體裁的先河。其中，幻想曲與奏鳴 曲的混合體裁，對於後世的浪漫派作曲家如簫邦和舒曼等的創作模式尤有啓發。
Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer,teacher, and conductor who was described in his time as one of Europe's greatestpianist-composers. However, his music has been neglected and underestimated inmodem times, and is not considered to have any lasting influence on later compositional developments in the 19th century.
The present study aims to demonstrate that, though identified as a conservative composer, Hummel played an important transitional role in the evolution between Classical and Romantic styles. I argue that the post-classicalpianism that he cultivated presaged many significant stylistic trends of later composers, and that these were stimulated by the rise of public concerts. The demand for virtuosic performances by middle-class concert audiences led pianistcomposers like Hummel to explore new modes of improvisation, which in turn had a profound impact not only on keyboard technique, but also on compositional practice.
A comprehensive study of Hummel's piano music reveals a new compositional practice featuring juxtaposition of different figurations, freedom of modulation, and new formal structures. The fantasy style derived from concert 11 improvisations came to be incorporated in different keyboard genres, resulting in generic mixture. In particular, the hybrid fantasy-sonata foreshadowed the later practice of Schumann and Chopin, and contributed towards the merging of serious and popular styles in Romantic piano music.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Kam, Cheok Weng.
"December 2011."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 160-174).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
List of Figures --- p.vii
List of Music Examples --- p.ix
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Cultural Contexts for Hummel's Post-Classical Keyboard Style
The Rise of Public Concerts --- p.10
The Development of Piano Music --- p.11
Technical Innovations in Post-Classical Pianism --- p.12
The Viennese Piano Style --- p.17
The English Piano Style --- p.21
Hummel's Keyboard Writing: Viennese Features --- p.28
The Influence of the English Style --- p.31
Legato Touch and the Chopin Style --- p.36
Technical Innovations --- p.40
Chapter Chapter Three --- Generic Transformation in Hummel's Piano Sonatas --- p.48
The Keyboard Sonata in Hummel' s Time --- p.51
Changing Approaches to Sonata Form --- p.56
Hummel's Early Piano Sonatas --- p.61
Sonata in F minor, Op. 20 --- p.67
Sonata in C major, Op. 38 --- p.77
Sonata in F-sharp minor, Op. 81 --- p.82
Sonata in D major, Op. 106 --- p.93
Chapter Chapter 4 --- The Evolution of Fantasias and Generic Innovations --- p.107
Improvisation and Fantasy Style in the Eighteenth Century --- p.108
The Eighteenth-Century Free Fantasia --- p.111
Changing Conceptions of the Fantasy From C.P.E. Bach to Mozart --- p.118
Changing Role of Improvisation in Performance Practice --- p.124
From Harmonic Thinking to Thematic Thinking --- p.129
Hurnmel's Fantasy Op. 18: The Fantasy-Sonata Hybrid --- p.134
Chapter Chapter 5 --- Other Types of Generic Mixture Prompted by Fantasy Style --- p.141
Generic Mixture with Theme and Variations --- p.142
Caprices --- p.148
Potpourri --- p.150
Rondo --- p.152
Chapter Chapter 6 --- Conclusion --- p.156
Bibliography --- p.160

Europe of the early 19th century is searching for its new artistic persona. Several new and distinct directions come into being, all vying for a spot on the landscape of arts and for the leading position. This desire to search for new directions deepens Europe's interest in the Orient. Meeting of the West with the East goes all the way back to early Middle Ages and manifests through several phases all the way to the present day. Fascination by the Orient in the 19th century was connected mainly to Napoleon's Egypt campaign, Greek uprising against the Turks, France's conquest of Northern Africa, World Exhibition in London and excursions into exotic lands themselves undertaken by contemporary enthusiasts. The wave of orientalism permeated all levels of fine art. It is most often seen in painting, graphic arts and photography and seen the least in sculpture. The thesis follows the orientalism phenomenon from the end of 18th century to the First World War. The goal is to provide some insight into its influence on areas of the fine arts in central Europe and provide background for future research in doing so. Key focus of the thesis is the research of exotic tendencies in architecture in the Kingdom of Bohemia and presenting it in the context of oriental architecture of other countries under the...

The thesis Political Programmes of the Czech Representation in the Second Halve of the 19th Century focuses on both programme documents and actual work of Czech political parties, whether more or less institutionalized, between the years 1848 (March Revolution) and 1918 (the downfall of Austria-Hungary). At first it summarizes the historical development in the respective period (Chapter 1), next, it analyses programmes of political parties in three broadly defined topics: 1) Organisation of the empire, question of the Czech State Right (Chapter 2); 2) Constitutionalism, civil rights and role of a citizen (Chapter 3) and 3) National matters (Chapter 4). The attitudes about each of these areas of the following political parties are defined: Bohemian nobility, National Party (till 1874) or Old Czechs (since then), Young Czechs, Social Democrats, Agrarians, Catholic parties, National Socialists, Progress parties and parties of the Radical State Right, Realists and Anarchists. For the conclusion, the author of the thesis attempts to characterise and evaluating the Czech political representation, as well as its importance for the development since 1918.