Studie Jarmily Procházkové se zabývá písněmi hudebního skladatele Leoše Janáčka, které byly inspirovány srbskou kulturní tradicí., This study is concerned with determining the previously unknown textual sources for Janáček’s lost chorus Ženich vnucený (The Enforced Bridegroom) from 1873, the composition of which testifies, as does that of his chorus Osudu neujdeš (You Cannot Escape Your Fate), to the composer’s interest at that time in South Slavic folklore. He took the texts for both pieces from the collection Zpěvy lidu srbského (Songs of the Serbian People) – Vol. I, Prague 1872 – in Czech translations by Siegfried Kapper (1821–1879), in which Kapper presented to the Czech public folk poetry from the collections of Vuk Stefanoviç Karadžiç (1787–1864). Kapper’s edition of the Czech translation was known also by Antonín Dvořák and Josef Suk, who used it in their vocal works composed to translations of Serbian folk texts., Jarmila Procházková., Rubrika: Studie, and Anglické resumé na s. 402, anglický abstrakt 393.
Jiří Stibral. and Předneseno na slavnostní schůzi České akademie věd a umění, Národohospodářského ústavu při České akademii, Hlávkových studentských kolejí a Správy nadání Josefa, Marie a Zdeňky Hlávkových, konané na počest stých narozenin Josefa Hlávky v Pantheonu Národního musea dne 14. února 1931
Studie Jarmily Gabrielové se zabývá inspiračními předlohami libreta k opeře "Vanda" hudebního skladatele Antonína Dvořáka a zaměřuje se rovněž na dramaturgickou strukturu díla., The article deals with select adaptations of the Vanda-theme in the 19th century dramatic writing (Zacharias Werner, Tekla Łubieńska, Francyszek Więżyk, and Matija Ban). On the basis of these works, possible models for the libretto of Antonín Dvořák’s Vanda op. 25 are discussed., Jarmila Gabrielová., Rubrika: Studie, and Německé resumé na s. 245, anglický abstrakt na s. 233.
Studie Evy Velické se zabývá okolnostmi vzniku a rané recepci první opery hudebního skladatele Bohuslava Martinů "Voják a tanečnice"., The first opera by Bohuslav Martinů (from the total of 16) named Voják a tanečnice (The Soldier and the Dancer), H.162 was created in the initial years of Martinů’s stay in Paris (1926–1927), when the effort to reflect different contemporary music trends and influences can be traced in his compositions. Voják a tanečnice is an original example of absorbing such influences. Together with the librettist, Jan Löwenbach, they tried to create a “new opera buffa”, which was not understood by the contemporary reviewers. The opera was first performed in Brno in 1928. The frequency of the first performances of Martinů’s stage works in the National Theatre in Brno indicates that the first performance of his first opera was not a coincidence but a part of targeted dramaturgy at the Brno stage., Eva Velická., Rubrika: Studie, and Anglické resumé na s. 167, anglický abstrakt 139.
Studie Elišky Baťové se zabývá dosud nepříliš hodnocenou koncepcí liturgického roku v duchovních písních od biskupa Jednoty bratrské a teologa Jana Augusty., The goal of the present study is to bring together the questions of hymnological research with the history of the liturgy and homiletics. In the integrated liturgical conception of Jan Augusta as it is known to us thanks to two Viennese manuscripts and a newly processed, unique printed document from the Unity of the Brethren church, these areas cannot be separated, since they mutually support each other to create a whole. The author has therefore dedicated herself to the broader context of the creating of a new arrangement of Biblical readings and songs in the Unity of the Brethren church, regarding which there were disputes from its inception in 1545 until the deaths of Jan Blahoslav and of Jan Augusta in 1572., Eliška Baťová., Rubrika: Studie, and Anglické resumé na s. 43, anglický abstrakt 33.