Studie Marcuse Zagorskiho je věnována dílu hudebního skladatele Karlheinze Stockhausena. Autor se však na něj zaměřuje z netradičního pohledu, protože zkoumá problematiku a způsob poslechu Stockhausenovy hudby., Karlheinz Stockhausen’s theory of listening reflected essential tenets of his creative practice and aesthetic inclinations. He outlined an admirably tolerant and accepting approach to listening and encouraged different listeners to generate different formal models to describe the same music. His method of listening thereby challenged the perceptual reconstruction of known, pre-existing forms that was so important to listening in the preceding 150 years, and this complemented his compositional challenge to another established aesthetic category – that of the closed musical work. By revealing this aesthetic background, this article shows the significance of Stockhausen’s thinking about listening., Marcus Zagorski., Rubrika: Studie, and České resumé na s. 201, anglický abstrakt na s. 193.
Studie Ludmily Šmídové je věnována Klavírnímu triu B dur, op. 21 (B 51), od hudebního skladatele Antonína Dvořáka. Skladba vznikla na jaře 1875, ovšem později byla revidována. Autorka se na základě pramenů zaměřuje právě na tyto skaldatelské úpravy a zkoumá původní podobu tohoto tria., The present study deals with a heretofore unresearched early version of Dvořák’s Trio in B Flat Major, Op. 21. It is based on both the investigation of new sources and the study of correspondence and the period press. It focuses on the circumstances of the work’s composition and its reception in its early version. It introduces sources of the early version, which have previously escaped the attention of scholars, and it compares the early version to the work’s definitive form, as it is known from the first printed edition of 1880., Ludmila Šmídová., Rubrika: Studie, and Anglické resumé na s. 167, anglický abstrakt na s. 143.