The aim of the thesis is the design machines for laser cutting and plasma workspace 2.0 x1, 8 meters. The work described technology laser cutting and plasma and the resulting demands on the machine. Longer work includes a search of design solutions, then the actual design, including the necessary calculations and drawings.

This diploma thesis designs a small vertical CNC milling machine. The thesis includes selection of suitable structural design of the machine based on market analysis and requirements. The listed components, constructional calculations and 3D model are chosen in order to minimize the costs.

This thesis deals with the development of tourism on the island of Cuba from the beginning of the 20th century till the present time based on the travel books written by travellers who come mainly from the United States of America. Next, it analyzes tourism during the 20th century. It monitors Cuban tourism from the historic point of view, where it records the period of communist government, racism and similar problems till the present time. It mentions another, however not so representative part of tourism, sex tourism. It is trying to stress the positive aspects of places that represent the tourism in Cuba.

Written in 1999, Concerto Piccolino is a part of the Composer's Guild of New Jersey Vibraphone Commission, which contains a collection of twelve soli written exclusively for vibraphone. Concerto Piccolino presents vibrant opportunities for both performer and listener to experience the compositional world of Milton Babbitt. With its limited register, ability to control duration and create extreme dynamics, the vibraphone serves as an appropriate vehicle for Babbitt's multi-dimensional style. The intent of this study is to first situate this work into Babbitt's compositional output as well as referencing Babbitt's other works for solo percussion. Next, an investigation into the background structure will provide a recommended analytical framework. Included is a performance guide for how these structures should be realized via surface materials throughout the interpretive and internalization stages of the work. Examining a recommended progression from analysis through performance will demonstrate Concerto Piccolino's significance and proper place in the standard repertoire of percussion. The study concludes with discussing connections to pedagogy and how the importance of Babbitt's work, as well as other composers of serious music, is vital to the forward progress of music performance.

Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.

Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection and spark their interest in playing contemporary music.

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.

A large portion of the standard repertoire for saxophone and piano has already been recorded and performed many times and has received significant scholarly study. For a performer, remaining relevant requires learning and performing new compositions. Jorge Sosa and Andrés Alén are both accomplished composers, yet outside of the Latin-American community they remain virtually unknown to most saxophonists. This project serves as an introduction to both composers. Combined, Sosa and Alén have nine compositions for saxophone. Their works include saxophone quartets, saxophone and piano, and saxophone quartet with choir. This study focuses on three compositions: La Zacapaneca by Sosa, Tema con Variaciones and Sonata para Clarinete ó Saxofón Soprano y Piano, both by Alén. Compositional background information is given about each composition to include date of composition, premiers, important recordings, length of performance and Cuban ethnic and traditional elements used as the basis for rhythmic and thematic ideas. The Cuban and Afro-Cuban influences are explained in further detail pertaining to how they were used in the construction of the works and in their being performed stylistically correctly. Dynamics, articulations, and performance considerations are studied at length.

Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire in the classical saxophone world, however, they are welcomed, substantial works for either the soprano or tenor saxophone and piano. Composed in a classical style and performed with jazz inflections and improvisation, these sonatas are challenging pieces to learn and execute at a high level. For many classical saxophonists, improvising a cadenza or utilizing standard jazz performance techniques could dissuade them from performing these terrific, distinctive works. This study is intended to aid in the learning and presentation of these two pieces, and includes transcriptions from Tommy Smith's album, errata, and performance analyses for each sonata.