The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J. S. Bach, W. Mozart, M. Ravel and G. Finzi, a program consisting of a set of works by R. Schumann presented on June 27, 1985, and a program presented on October 28, 1985,of solo literature for voice, piano, and chamber ensemble,including works by A. Caldara, G. Handel, H. Wolf, H. Duparc, C. Ives and S. Barber.

[pt] Nesta tese, proponho uma discussão sobre o trabalho de Rogério Duprat como arranjador de canções tropicalistas e sobre o modo como alguns de seus arranjos musicais dialogam com as palavras cantadas com as quais eles foram gravados no final dos anos 1960. Combinação de sons orquestrais, de clichês da música de cinema e de efeitos sonoros variados, os arranjos de Duprat conferem um caráter sonoplástico às gravações tropicalistas. Experiente compositor de música serial, eletroacústica e para computador, assim como de jingles e de trilhas sonoras para o teatro e o cinema, Duprat valeu-se de amplos conhecimentos da música de concerto europeia e da música popular do Brasil para fazer referências em seus arranjos a diversas obras e estilos musicais. Como um artífice, procurou compreender e responder às demandas dos compositores de canção, dos cantores, do produtor da gravadora, dos técnicos de gravação e de outros profissionais que acabaram por se tornar coautores de seus arranjos. Arranjos que também foram produzidos sob influência de agentes como John Cage, The Beatles, os poetas concretos e os compositores, regentes e instrumentistas do Música Nova, grupo paulistano de vanguarda de onde saíram Duprat e os demais arranjadores de canções tropicalistas. / [en] In this dissertation, I examine the work of Rogério Duprat as arranger for tropicalista songs and the way some of his musical arrangements dialog with the melodized words with which they were recorded in the late 1960s. As a mix of orchestral sounds, film music cliches, and sound effects, Duprat s arrangements give an audiovisual character to tropicalista recordings. As an experienced composer of serial, electroacoustic, computer, and advertising music, as well as theater and cinema soundtracks, Duprat employed his broad knowledge of Western concert music and Brazilian popular music in order to make audio references to diverse works and music styles interwoven into his arrangements. As a craftsman, he sought to understand and to answer the demands from song composers, singers, the record company producer, recording technicians, and other professionals that became collaborators of his arrangements. His arrangements were also influenced by agents such as John Cage, The Beatles, the concrete poets, and the composers, conductors and musicians of Música Nova, a São Paulo avant-garde group that was integrated by Duprat and the other arrangers for tropicalista songs.

This thesis deals with technological project of production of rotating parts, more design layout of the workplace light machining - turning in the company TOS KUŘIM - OS, a.s.. Workplace design is based on both the requirements of company and the principles of technological design. Part of this thesis is the design of three variants of machines arrangement, which are evaluated. Selected of the best option is further elaborated in detail the calculation of capacity, drawing documentation, and economic-technical evaluation.

The aim of the thesis was to propose a pump impeller with higher effectiveness and verify the proposal with the calculation using programs Gambit and Fluent. Three designed impellers were afterwards made using 3D printer and its characteristics were measured in a hydraulic laboratory in Kaplan Department of hydraulic machines. The proposal of a so called wideband impeller of the centrifugal pump was made with chaotic ordering of blade cascades, in one impeller occur blades with various input and output angles and different shapes of blades but all blades have got similar shape in a meridian sectional view of impeller. The thesis was divided into three parts. In the first part, a conforming transformation was theoretically described which was in the thesis used for the shape proposal of impeller blades. In the second part of the thesis final proposals and calculations of pump impellers were made. The third part of the thesis focused on the processing and evaluation of experimental measurement in the hydraulic laboratory and finally the results of the thesis were summarized in the conclusion.

This thesis deals with the optimization of technological layout of workplaces in company Petr Bližňák – Metal Fabrication. For optimization are used methods of technological designing. Process of our solution proposal is preceded by a literature search of the issue and explanation of basic concepts in designing. It is followed an analysis of the internal and external environment of the company and assess the current state of the company. Proposals for solution variants are based on calculations of capacitance to minimize manipulation distances and reduce production costs. In conclusion have been selected most advantageous variant and its technical-economic evaluation.

Musik kommt bei der Vertonung interaktiver Medien in vielerlei Weise zum Einsatz. Dabei stellt die interaktive Beeinflussung der Musik die größte Herausforderung dar. Dieser sogenannten nichtlinearen Musik wird eine flexible Wandelbarkeit abverlangt, sogar noch während sie spielt. Die vorliegende Arbeit geht auf einige medientheoretische Fragestellungen ein und stellt technische Lösungen vor. Es werden die unterschiedlichen Erscheinungsformen und Aufgaben der Musik in interaktiven Medien behandelt. Die technischen Herangehensweisen an nichtlineare Musik werden systematisiert und zwei Lösungsansätze vorgestellt, der Echtzeit-Arrangeur und das reaktive Orchester. Diese arbeiten auf der Ebene des Arrangements und der ausdrucksvollen Interpretation. Es werden Modelle zur Beschreibung interpretatorischer Merkmale entwickelt, die auch musikwissenschaftliche und musikpsychologische Relevanz und Anwendungen haben. / Music is applied in manifold ways in scoring interactive media. The biggest challenge in this respect is posed by the interactive manipulation of music. This so-called nonlinear music must provide for flexible mutability even while it is playing. The following research study addresses some media-theoretical issues and presents technical approaches. The different manifestations and functions of music in interactive media are treated. The technical approaches to nonlinear music are systematized, and two solutions to the problem of flexible mutability are elaborated: the Realtime Arranger and the Reactive Orchestra. These are shown to operate at the level of arrangement and expressive performance. Models are developed for the description of the performance features. These models are of relevance and have applications in the fields of musicology and music psychology.

As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.

The Bach Cello Suites have become widely transcribed and studied on the double bass. They have also become essential teaching material as most US orchestra auditions demand solo Bach for bass auditions. Transcribing the chords in Bach Cello Suites presents many difficulties on the bass because of the different tuning of our instrument (cello in 5ths; double bass in 4ths). There is no unified solution to all the problems presented in chord playing at this time. The purpose of this project, therefore is to give bass players solutions to the problems by looking at historical interpretation of chords, technical execution of the chords on cello and bass, tonal and resonance considerations and fingering solutions. The chords chosen represent the most common and most difficult to transcribe to the double bass from the Cello Suites.

Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.

<p>Prvim delom rada su obuhvaćene op&scaron;te karakteristike sliva Tami&scaron;a i njegovog toka. Tami&scaron; u na&scaron;oj zemlji ima sve karakteristike ravničarske reke. Izvire ispod vrha Semenik u Rumuniji, a u&scaron;će mu se nalazi kod Pančeva. Generalno tok Tami&scaron;a ima oblik polukruga okrenutog ka severu. Ukupna dužina Tami&scaron;a iznosi 340 km, dok u na&scaron;oj zemlji on ima dužinu od 118 km. Sliv Tami&scaron;a u Jugoslaviji obuhvata delove srednjeg i južnog Banata, a prostire se preko 7 geomorfolo&scaron;kih celina, na povr&scaron;ini od 1528,5 km2. Posle obrade režima vodostaja se može konstatovati da Tami&scaron; ima pojavu visokih voda u aprilu, a zatim u maju, a najnižih u oktobru i septembru. Prema tome on pripada centralno-evropskoj varijanti, pluvio-nivalnog režima. Drugi deo ovog rada je posvećen vodoprivrednim karakteristikama i problemima Potami&scaron;ja. Ono u celini ima povr&scaron;inu od 1.194,7 km2, sa 121.596 stanovnika (popis 1991). Na ovom području nalazimo 20 naselja, od kojih samo Pančevo ima karakter gradskog naselja. Bitne karakteristike Potami&scaron;ja se sastoje u njegovom depopulacionom karakteru i slaboj privrednoj razvijenosti sa dominacijom agrara. Ovaj prostor se odlikuje izvođenjem kompleksnih regulacionih radova tokom poslednjih 250 godina. Regulacije su obavile korenite promene u hidrogeografiji i geografskom pejzažu Potami&scaron;ja. Pomenimo samo neke: skraćivanje toka Tami&scaron;a u Jugoslaviji za 79 km, prokopavanje Kara&scaron;ca, izgradnja 3 ustave na Tami&scaron;u i 1 na Kara&scaron;cu i dr. Na području Potami&scaron;ja se nalazi 18 sistema za odvodnjavanje, čija ukupna povr&scaron;ina iznosi skoro 1000 km2 i 10 sistema za navodnjavanje povr&scaron;ine od 4.340 ha. Potami&scaron;je se može nazvati &quot;ribljim eldoradom&quot;. Uz postojanje 7 ribnjaka, planirana je njihova izgradnja na jo&scaron; 16 lokacija. Ova privredna grana mogla bi imati značajnu ulogu u popravljanju lo&scaron;eg privrednog stanja ovog područja. Potami&scaron;je ima relativno bogate turističke potencijale, koji jo&scaron; nisu iskori&scaron;ćeni. Postojeći motivi bi se najbolje ogledali u razvoju nautičkog, ribolovnog i rekreacionog turizma. Važno je napomenuti da bi razvoj turizma podstakao i razvoj drugih privrednih grana.</p> / <p>The abstract has been processed with OCR optical text recognition technology.</p><p>In the first part of dissertation there is general characteristics of Tami&scaron; basin and his flow. In Yugoslavia Tami&scaron; river has the all characteristic of the rivers in the plains. The spring of Tami&scaron; river is under top of Semenic in Romania and its mouth of river is near Pančevo. In generally, flow of Tami&scaron; has a shape of semicircle turn to north. Whole length of Tami&scaron; river is 340 km, while in Yugoslavia its length amount 118 km.<br />Tami&scaron; basin in Yugoslavia include parts of middle and south Banat, spreading over 7 geomorphologic entity on the surface area of 1528,5 km2.<br />After investigation of waterlevel regime it could be conclude that Tami&scaron; river has the appearance of high level water in April and May, until the low level water has the appearance in October and September. Toward this, Tami&scaron; river belong to the central-European variant of pluvio-nival regime.<br />The second part is turn to watereconomy characteristic and problems of Potami&scaron;je region. Potami&scaron;je has the total square area of 1.194,7 km2, with 121.596 habitants (census 1991). There is 20 settlements, from which, only Pančevo has character of town. Important characteristic of Potami&scaron;je region is his depopulation character and weak development of economy with domination of agrar.<br />Distinction of Potami&scaron;je region is complex regulations in the last 250 years. Regulations were done significant changes on hydrogeography and geographical landscape of Potami&scaron;je. Let mention some of: shortened of the Tami&scaron; flow for 79 km, digged out the canal Kara&scaron;ac, built three dams on Tami&scaron; river, and one on Kara&scaron;ac.<br />In this region there are 18 system for drainage, which total square area amount almost 1.000 km2 and 10 system for irrigation with square area of 4.340 ha.<br />The other name for Potami&scaron;je can be &quot;fish eldorado&quot;. There are 7 fish-pond, and on the other 16 location were planed there build.<br />Potami&scaron;je has, relatively, rich tourists potentials, which are not developed. Existing motives are appropriate for developing of nautic, fishing and recreation tourism.</p>