The thesis deals with Recommened literature for tuba playing on elementary music school. Labour mentions the modern history of the tuba instrument. The main part provides an overview of the tuba literature – schools, etudes and excercises, solos and chamber and orchestra parts. Biographies of autors are connected with description what you can find in literature with their examples. I always noted recommendation for which classes are these materials appropriate. Pictures of modern tuba instruments are attached for the ilustration.

This diploma work is focused on the research of students, who are attending secondary forestry (vocational) schools in The Czech Republic. The main goal was to find out the characteristics of current students at these schools and their motives to start studying exactly forestry. Another aim was to analyse the situation of secondary forestry schools, especially if the number match the need of labour market. For this purpuse, a questionnary survey was carried out among the students of 5 traditional secondary forestry schools (in Trutnov, in Zlutice, in Krivoklat, in Hranice and in Pisek), who are in their 2nd or 3rd year of Forest Mechanic on vocational school or in their 3rd or 4th year of Forestry on secondary school. Totaly 215 respondents answer the questionnary. The results clearly show, that the students still come from the countryside and are interested in the field of their study. However, they have no specific idea about their future work and only several of them arrange a job before they leave the school. Moreover the number of graduates, produced every year by the schools, several times outnumbered the need of labour market. On the other hand the number of students in vocational schools, not only in forestry, is slowly increasing every year. Therefore there is a possibility, that in the future lower job in forestry would be done more often by fully qualified workers.

The Master´s thesis is focused on financial sources invested in education at language schools in the Czech Republic. The theoretical part gathers data associated with the topic and is based primarily on the specialized literature. From the characterization of linguistic companies, it is obvious that this type can be described as a non-formal type of education. According to the international classification it belongs to the post-secondary non-tertiary education. Information obtained in the theoretical part will be important for the analytical part of the thesis. The practical section describes mostly language schools, analyses their offer of linguistic classes for public in detail. Both economic and non-economic criteria will be analysed and compared. The conclusion of the thesis presents evaluation of the previous parts. It is clear that the competition in the particular market is strong, and therefore it is necessary for every company to strive for some kind of competitive advantage. Regarding the choice of a suitable linguistic course from the point of view of a student, we suggest several factors that one should consider. Generally, it has been proven that investment in any kind of education is always considered a good investment.

This master thesis deals with programming education on first grade of primary schools in application EasyLogo. The theoretical part consists of analysis of education of an original set of short programming exercises. Based on observation of teaching at schools and following interactions with teachers and students was the set modified and supplemented by new exercises. The new educational set includes 52 exercises divided into seven sections which keep the teaching process following the taught steps. The master thesis consists of descriptions and previews of new exercises, guidelines for teachers and as an attachment there is a complete list of exercises divided into sections.

In this master thesis I focused to summarize especially from my point of view the study at the Department of Alternative and Puppet Theatre. The aim was to describe the education and clarify the problems, which have occured during my study. Further to explain what impact had the study on my actor´s and personal growth and my exceptions to it. With this master thesis I also tried to illustrate the author´s work which arise during four-year study on DAMU

In this diploma thesis named Drama Acting on Alternative Department is author trying to find connection of classical drama acting and Department of alternative and puppet theatre. In first part she mentioned how does the department work. As a contrast to the open and experimental creative work she elected system of Stanislavskij. In every single chapter she reflected pedagogical methods of directors and their acting approaches. At the end she foccused on reflection of her own acting and creating procces in theatre Disk. Last part is based on short questonnaire for students of acting department.

In this master thesis I am analyzing the process of two author performances GoG & LONELiNESS & STUFF. I am trying to write down basic methods and assumptions for my own author work without scenario where the beginning of the whole process is only a theme or a literally model (which is more likely main inspiration source rather than pattern). All those methods and assumptions, I call Beginning which is a word that represents them in the best possible way. That is also a reason for naming my thesis What does -to be in the beginning- mean, this name should represent my never ending searching of more sophisticated way of developing theatre performance. The whole thesis begins with a chapter called Starting-points, which collection of most important things I learned in the Department of alternative and puppet department. The chapter is divided into parts according to the teachers who took turns in leading main subject Acting. In every part I tried to write about the way of influencing my approach to author work. Middle part consists of two chapters GoG and LONELiNESS & STUFF where I describe my own work on concrete cases from process of rehearsing both performances. In both chapters I describe my own new methods and experiences. Putting both processes in context, and trying to explain differences. And I also try to find a connection between the chapter Starting-points and concrete cases from my own author work. The whole thesis ends by a chapter What does to be in the beginning mean where I summarize and generalize issues which we were solving during our author work and I also try to establish requirements for really creative way of creating author performance. Main message of this thesis is to look back on my own work. Also, from my point of view, establishing ideal way of creative process and defining spectator as co-creator of theatre performance. Where this ideal way of creative process doesn’t exist because the point upgrades my own ability to constant adapt and change, act intuitively.

The main goal of the thesis is to show the possibilities of using drama education in English lessons with concentration on developing sociolinguistic competence. The thesis comprises of two parts ? theoretical and practical. The theoretical is divided into three chapters. The first deals with the sociolinguistic competence and its conception in the Common European Framework of Reference for Languages and in the Framework Educational Programme, the second is devoted to drama education and drama techniques and methods and the third briefly deals with teaching foreign languages in the two above mentioned curriculum documents. The practical part includes the three lesson plans which mainly concentrate on developing the sociolinguistic competence of students at middle school level and it also includes reflection of the lessons. The practical part is based on the theoretical knowledge from the theoretical part and can serve as a source of inspiration or manual for teachers who are interested in developing not only communicative but also social and personal competence.

The Diploma thesis with the possible implementations of Aesthetic education from 6th to 9th grades of primary school. The subject matter concerns all fields befalling into the educational area of Arts and Culture, as defined by the Framework Educational Programme for Basic Education; music, art, drama education, film/audiovisual education, and dance and movement education. In an educational approach Aesthetic education as a subject is based on artephiletics. In addition to giving the theoretical grounds for creating the subject, the dissertation also offers an account of the preparatory phase of its implementation at a specific primary school, including inspirational materials for teaching the subject from 6th to 9th grade at this school.

As the title would suggest, the goal of my master thesis was to build the complete arch that would hold at the time of its brightest shine, at the times of Parisien and Viennese school. From my own opinion is this epoch of guitar, allocated by the end of classicism and the early romantism, in the universe of music, one of the most remarkable. This attractiveness is proven epecially thru the giutar literature of that time, that with its beauty, imaginativeness and permanent artistic recensy, is with no doubt the most significant. The first chapter is devided betwen the two subchapters. It pictures social-political and cultural situation of the turn of 18th and 19th century. In the first subchapter, I briefly capture the manners of changes of musical speech, predetermining then the speech of guitar composers of early romantism. Then in the second subchapter, I notice the most important genres and musical forms, preferred especially at the end of the 18th century and the beginning of 19th, from which our previously surveyed guitar schools were born. In second chapter I summarize the form of the early romantic guitar of the beginning of 19th century. I notice here the most significant names of master guitar builders and characteristics of their type of work. In following next two important chapters, 3rd and 4th, I talk about the most important modern guitar composers of Viennese and Parisien school of that time. Thru the short biographies and significant milestones of each personalities mentioned, I cite selected pieces for guitar, which by its meaning overcome typical expectations. The next subchapter then picks up the most influential contemporaries and followers who affect collaterally with both mentioned guitar schools, though not involved within them. The conclusion then in a few sentences points at the importance and unimaginable value of the guitar music of the first half of the 19th century, which has a worldwide merit revolutionary influence up to now.