This diploma thesis deals with the occurrence of the common yew in the Forest School Enterprise in Křtiny and also gives some insight to the problems of natural regeneration caused by cloven hoofed game species. Main goal was to map the adult yews and abundance of natural regeneration with subsequent proposal of management on given locations. During years 2014 and 2015 the investigation on interested locations was carried out, and during this investigation certain attributes such as gender, height, diameter, damage etc. were identified. Position of individuals was mapped by means of Field--Map technology and the final maps were drafted up by ArcGIS system. There were found and mapped 556 individuals of yew at given locations in autumn 2014. 92 of them were adults and 464 individuals came from the natural regeneration. There were found 337 specimens of natural regeneration during control measurement in spring 2015. That means 27 % losses.

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ML (MD-2-related lipid-recognition) domain containing proteins are recognized as immune-related molecules. They do not belong among well-studied proteins in ticks although their occurence is quite often. Generally, ML proteins are involved in innate immunity processes, lipid binding and transport. Usually, expression of tick ML domain containing proteins is induced by blood feeding. Two members of the ML protein family, ML-domain containing protein and Der-p2 allergen-like protein were isolated from Ixodes ricinus and characterized for the first time.

This thesis focuses on a relatively under-researched immigrant-descended group: the second-generation Irish in post-war England. Taking popular music as a case study, the thesis examines some of the key ways in which the second-generation Irish have been discursively managed in both academic and journalistic discourses. To this end, the thesis develops a critical dialogue with particular aspects of Irish Studies, British Cultural Studies, and the discourse of popular music journalism. Much of this dialogue is, in turn, refracted through the prism of specific themes and issues, especially those pertaining to assimilation, essentialism, and 'white ethnicity'. In addition to these considerations, the thesis also addresses the question of musical 'routes', examining the variegated aesthetic strategies that have been mobilised by second-generation Irish rock musicians such as John Lydon, Kevin Rowland, Shane MacGowan, Noel Gallagher, and The Smiths. Throughout, the thesis is infonned by a desire to challenge the invisibility of the second-generation Irish in academic and journalistic discourses; to highlight the diversity and complexity of second-generation Irish experience and identity-formation processes; and to point to the productive and diverse ways in which second-generation cultural practitioners have reconfigured popular culture in England.

This thesis presents the author's musical compositions through the elucidation of their source impulse. In order to facilitate the unveiling of the works presented in this thesis I have subdivided it into sections thus: Section 1 - Here I introduce the reader to the motivation behind my music composition work and discuss the elements which inform my cosmology through the elucidation of the concepts and methods used in the realisation of the compositions. Section 2 - An introduction, discussion and conclusion to the series heading of Raza. The compositions and chapters are as follows: Chapter 3, Lucero for charango and tape; Chapter 4, Gato's Raid for marimba and tape; Chapter 6, De Luna a Luna ... for two percussionists and tape. In this section I address that particular musical imagery which is directly related to my cultural roots. Section 3 - An introduction, discussion and conclusion to the series heading of Urbis. The compositions and chapters are as follows: Chapter 9, Urbis #2 'passing moments/riffs & raffs' for bass clarinet and tape; Chapter 10, Urbis #3 'Alter ego' for electric guitar, live electronics and tape; Chapter 11, Urbis #4 for tape. In this section I address the use of modern urban culture symbols in order to create a contemporary mythological canon. Section 4 - A conclusion to this thesis.

A fast expanding network of DIY music communities in the UK see digital technologies transforming ways in which part-time amateur musicians are able to collaborate creatively and form alliances, touring and distributing their music to an international audience and expanding the possibilities of a DIY approach to music making beyond its subcultural, micro-cultural past. Creative autonomy and control is sought to be retained and celebrated in shared non- commercial spaces run by the artists themselves. With an interview based approach, this thesis explores the continued importance of gaining a local audience in a digital age, exploring amateur music activities in two very distinct cities. These reveal how local traditions of amateur practice continue to influence musicians and their shared venues, both in their revival and reinvention. How DIY is defined in a digital age is also explored with both observation and interview data revealing the continued legacy of Punk and how this plays a part in DIY’s expanding definition. The approaches and motivations behind amateur musicians seeking out and establishing shared places for their DIY practice reveals a collective striving for creative control and the creative reimagining of disused urban spaces. Whilst there is a commitment to the upkeep of these spaces, there are also essential online activities shared by the amateur musicians that assist their own personal music promotion alongside the networking and expanding of the local DIY communities. This discussion also reveals how the musicians tackle periods of isolation from their peers, as increased opportunities to collaborate remotely with others changes the dynamics of bands and music scenes. In a combining of interview and observational data, the thesis also explores in depth the handcrafting and DIY activities practiced and celebrated in the shared DIY spaces. There is then further discussion as to how the musicians manage their peer networks and how they stay connected to other musicians in their local areas. This reveals more relaxed, open networking tactics widely adopted by amateur musicians in a digital age. There is a continued discussion then as to how the musicians are able to sustain their DIY practices on a part- time basis, with a focus on the co-operative strategies for creating a sense of community, shared values and ambitions amongst the musicians. In conclusion, I draw upon the themes of material, digital, local and global practices, revealing how amateurs seek to protect both a micro-scale, exclusive aspect to their music and opportunities for face-to-face live performance for real engagement with their peers and audiences.

All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.

Approved for public release; distribution is unlimited. / The major driver for broadband wireless communications has been reliable, high-data rate services. In wireless communication, the multipath fading constitutes a bottleneck for increasing data rates and causes performance degradation. To combat fading, we can use diversity. Wireless systems with multiple antennas at the transmitter and receiver have much larger capacity in fading channels than standard wireless systems. The objective of this thesis is to investigate the transmission scheme provided by matrix A and B in the 802.16 standard and show how it can be implemented. The research focuses on using maximal-ratio combining (MRC) to demodulate the transmitted symbols. Modifications to the existing matrix by using more frequency bands were introduced; this reduces the number of transmitting antennas and uses fewer time slots to transmit the same number of symbols. The modulator and demodulator design is also discussed. The performance of orthogonal and non-orthogonal space time codes (STC) are evaluated. / Civilian

Drawing Sound in Time reflects on how I have attempted, in the music written over the period of my doctoral studies (2004-2010) to use time as a basis for the mapping of sonic activity and how this aesthetical concern has helped me develop a teleological approach to form and structure. The shaping of time in my work often has its origins in the visual, either from my own drawings or from other visual stimuli. As well as considering the visual appearance of my music, I will draw on the correlation of music and art by abstract painters (most notably Paul Klee) alongside composers Iannis Xenakis and John Cage whose philosophy represent for me a way forward, not only aesthetically but also on a technical level. Additionally, the discussion will refer to astronomy as certain aspects of the subject relate to the development of techniques in my compositional language, and furthermore will often draw on the titles of the pieces (stars and constellations) as a basis for generating materials. I will address in particular the use of coding in my music that is an integral part of the way I work. My commentary will examine the main aspects of my musical language using examples from selected works in the accompanying portfolio.

This study examines the learning of ensemble skills by young musicians in progressive ensembles. Data collection took place in three music centres which form part of an LEA music service's ensemble provision. This study uniquely approaches ensembles as'socio-musical' phenomena. It finds description and explanation in the constantly changing and developing socio-musical interactions that form ensembles. Using an ethnographic approach it examines the practice of ensembles that are part of musical learning pyramids, through the eyes and actions of the ensemble members. There is an examination of ensemble membership and the social structures and interactions that form ensembles. This study explores, and for the first time identifies, a set of ensemble specific skills. These are the skills that a musician uses to negotiate, integrate and cooperate with other participants in the production of ensemble performance. It goes on to examine how ensemble specific skills are acquired and suggests that the learning process is one of serial performative responsibility transfer created within stratified centripetal progression. New, or novice, members of an ensemble start by participating at a peripheral level leaving it to others to take performative responsibility for the production of a negotiated collaborative realization of the musical intentions of the composer. This study has been influenced by the work of Lave and Wenger and social theories of learning. However, it departs from these theories by suggesting that the learning process within an ensemble is responsibility led and stratified.