Inaug.-Diss.--Berlin. / Vita. Bibliography: p. 93-94.

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"Die französische Republik wurde proklamiert. Hoch soll sie leben!" – So lautet eine der Notizen, in denen Friedrich Smetana auf die politischen Ereignisse in der Entstehungszeit seiner Festoper Libuše reagierte. Sein Werk aus den Jahren 1870-1872 ist ein geschichtsphilosophisches Tableau, das den mythologisch hegelianischen Dreischritt \"Harmonie im Urzustand – Fluch der Entfremdung – Wiedererlangen der Harmonie auf einer höheren Stufe\" verkörpert.

"Die französische Republik wurde proklamiert. Hoch soll sie leben!" – So lautet eine der Notizen, in denen Friedrich Smetana auf die politischen Ereignisse in der Entstehungszeit seiner Festoper Libuše reagierte. Sein Werk aus den Jahren 1870-1872 ist ein geschichtsphilosophisches Tableau, das den mythologisch hegelianischen Dreischritt \"Harmonie im Urzustand – Fluch der Entfremdung – Wiedererlangen der Harmonie auf einer höheren Stufe\" verkörpert.

Smetana’s Vltava is widely described as a musical depiction of sights and scenes on a journey down the Vltava River that glorifies the river as a defining national landmark. While this understanding of the piece complies with its program and produces a formal and thematic analysis that reveals a general adherence to the conventions of the nineteenth-century symphonic poem, the interpretation only considers the work in isolation and does not account for its most exceptional features. My paper will analyze Vltava in its larger context as a part of the symphonic cycle of Má Vlast to uncover a deeper programmatic significance to the movement’s formal and thematic design, one inextricably bound up with Smetana’s Czech nationalism. The analysis will consider all of the movements of the cycle and their relationships to one another, with particular emphasis on the crucial relationship between Vltava and Z českých luhů a hájů. / text

This diploma thesis contains the description of the polka dance, its origin and short history. The next part belongs to the opera of Bedřich Smetana „The Bartered Bride“ from its creation through to the next presentations in the National theatre in Prague until the actual performance. In the last part there are descriptions of three chosen choreographies of polka from this opera and their analysis according to the model of Janet Adshead – Lansdale. Supplements contain biographies of Bedřich Smetana and choreographers of chosen inscenations – Otto Šanda, Pavel Šmok and Ladislava Košíková.

In this work I wanted to focus on the personality of the Czech composer Bedrich Smetana, and analyze the composition " From my Homeland". I find this remarkable composition to be extremely important for the Czech violin repertoire. In my opinion, the significance mof Smetana´s music is still underrated.

This diploma thesis deals with rheological properties of cream in this theoretical part. The first part describes the composition of milk as a basic product in the production of cream, and the definition of cream according to legislation and its composition. Another part of the thesis is focused on the production of cream and its distribution by kind. In the next chapter, attention is paid to the rheological properties of food, esspecially viscosity and density. The practical part is focused on the measurement of rheological properties of 10 whipping cream samples available on market. The fat proportion of the samples ranged between 30 - 33 %. For all of these samples, viscosiy and density were measured. For chosen samples was also determined the dependency of shear stress to shear rate. This dependence, using Ostwald-de Waele model, determines what type of fluid is involved. Another observed parameter was the dependency of the dynamic viscosity on the shear rate and the relation of this viscosity to the temperature changes. All samples were subjected to analytical determination of cream (dry matter, fat, titration acidity, active acidity, electrical conductivity). From the analysis of the fat proportion proportion, we are able to compare our measured data to the projected data declared by producers.

The connection between music and architecture was a field of many people all over the world throughout history. Attitude is different in every single way. Someone feels music in architecture through the feelings someone uses exact methods. My way led through the many formal analysis to design my own composing method on the basis of music patterns. The idea for designing my opera house in the capital Prague on the bank of the Vltava river was a symphonic poem written by Bedřich Smetana – Vltava. The tones of the music flow gracefully like a river, from the soft lines of flutes to the orchestra pother. And this is the story of the template for my design, where the river bank escalates to the opera theatre. And this space of opera is curious in some way. It can be changed between performances from opera to the Philharmonie purpose.